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When  you  leave,  please  leave  this  book 

Because  it  has  been  said 
"Ever'tbing  comes  t'  him  who  waits 

Except  a  loaned  book." 


OLD    YORK    LIBRARY  —  OLD    YORK    FOUNDATION 


,a 


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Avery  Architectural  and  Fine  Arts  Library 
Gift  of  Seymour  B.  Durst  Old  York  Library 


ALL 
THE  OPERAS 


PRODUCED  AT  THE 


MANHATTAN  OPERA   HOUSE 


SEASON    1908-09. 


OSCAR    HAMMERSTEIN. 


WITH    PLOTS,    INCIDENTS    AND    SITUATIONS    TERSELY 
TOLD   SCENE    BY   SCENE,  ACT  BY   ACT,  COMPLETE. 


COPYRIGHT    1908. 

PUBLISHED      BY      HENRI      ROGOW8KI, 
442    PEARL.     STREET,  NEW    YORK. 


\c]\)% 


}3 


EDITOR'S  NOTE 

This  little  book  is  intended  to  facilitate  the  immediate  compre- 
hension of  any  one  or  all  of  the  operas  in  the  repertory  of  the 
Manhattan  Opera  House  during  the  present  season  of  1908-9. 

A  glance  at  the  opera  of  the  night  will  enable  the  reader  to 
intelligently  follow  the  action  of  the  play  and  to  understand  the 
motives  that  animate  the  characters,  scene  by  scene  and  act  by  act. 

It  is  in  no  sense  intended  to  enter  into  rivalry  with  the  excellent 
librettos  sold  inside  the  house  but  which  cannot  be  satisfactorily 
followed  in  an  auditorium  always  darkened  while  the  performance 
proceeds. 

And  there  is  the  additional  advantage  that,  while  a  libretto 
tells  only  the  story  of  the  night,  the  operagoer  may  by  means  of 
this  book  not  only  refresh  his  or  her  memory  as  to  past  perform- 
ances, but  gain  a  clear  insight  about  others  to  come.  Casual 
and  frequent  patrons  of  the  Manhattan  will,  in  short,  find  it  a 
handy  book  to  keep  in  the  house. 


H-4sHJX*s4, 


U  LA4-  CJ&sUX*  . 


Digitized  by  the  Internet  Archive 
in  2013 


http://archive.org/details/alloperasproduceOOnewy 


La  Sonnambula 

A  Grand  Opera  in  Three  Acts. 
Music  by  Bellini. 

ACT   I. 

The  scene  is  a  village  green  in  Switzerland,  with  moun- 
tains in  the  distance,  and  at  the  rear  of  the  stage  a 
water  mill.  The  villagers  are  celebrating  the  betrothal 
of  Amina  to  Elvino,  and  everybody  seems  to  be  happy, 
excepting  Lisa,  the  keeper  of  the  inn,  who>  is  in  love 
with  Elvino  herself.  Amina  enters  and  the  inevitable 
Notary,  and  the  contract  is  signed.  As  compliments 
pour  in  the  cracking  of  whips  is  heard,  and  Count  Ro- 
dolph  enters.  He  takes  much  interest  in  the  scene 
around  him,  and,  attracted  by  the  prettiness  of  Amina, 
he  pays  her  such  marked  attention  that  Elvino  has  a 
fit  of  jealousy.  As  night  comes  on  all  go  their  ways, 
Amina  and  Elvino  having  a  little  tiff  and  a  make-up 
before  they  part. 

ACT   II. 

This  is  the  Count's  sleeping  apartment  at  the  inn. 
He  is  shown  to  his  room  by  Lisa,  with  whom  he  has 
a  scene  of  rather  warm  flirtation,  when  a  noise  is  heard 
outside,  and  Lisa  runs  to  a  closet  to  conceal  herself, 
dropping  her  handkerchief,  however,  on  the  way.  The 
window  is  thrown  open  and  Amina  enters  walking  in 
her  sleep,  and,  going  to  the  bed,  lies  down.  The  Count, 
seeing  the  condition  of  affairs,  leaves.  No  sooner  has 
he  done  so  than  Lisa  rushes  out  and  informs  Elvino  of 
Amina's  whereabouts.  He  comes  in  accompanied  by 
the  villagers,  and  Amina  wakes,  unable  to  account  for 
her  presence  there.  Elvino  will  not  be  appeased  and 
will  not  believe  in  her  protestations  of  innocence.  He 
and  the  villagers  turn  from  her  in  disdain. 


ACT  III. 

Amina  is  sadly  stricken,  as  she  has  been  unable  to 
regain  the  affection  of  Elvino.  The  Count  meets  him, 
however,  and  tries  to  set  matters  right.  He  is  still  in 
doubt,  when  Amina  appears  at  the  window  of  the  mill 
walking  once  more  in  her  sleep.  She  crosses  a  frail 
bridge,  which  almost  gives  way  under  her,  and  comes 
down,  muttering  almost  incoherent  expressions  of  love 
for  Elvino.  Now  convinced  that  all  was  right,  Elvino 
clasps  Amina  in  his  arms,  and  she  awakes  to  a  full 
realization  of  a  happy  turn  of  affairs.  Lisa,  who  has 
obtained  Elvino's  promise  to  marry  her,  is  spurned  by 
all  as  the  handkerchief  she  left  in  the  Count's  room  has 
been  found  there,  and,  of  course,  the  worst  possible  in- 
terpretation has  been  put  upon  it. 


Bellini  was  just  reaching  the  height  of  his  fame  when  La 
Sonnambula  was^  produced  at  the  Carcani  Theatre  in  Milan  in 
1831.  It  has  held  the  boards  ever  since  by  reason  of  its  pleas- 
ing melodies,, but  principally  because  it  has  served  to  popularize 
many  prime  donne  with  light  and  facile  voices.  It  was  Patti's 
favorite  in  her  early  days.  In  comparatively^  recent  years  Gerster 
made  her  fame  in  this  tuneful,  brilliant  but  immature  work.  No 
doubt  it  will  go  on  serving  the  same  purpose,  hackneyed  as  it  is. 


Carmen 

Opera  in  Four  Acts. 

From  the  Novel  by  Prosper  Merimee. 

Music  by  Georges  Bizet. 

THE   CAST. 

Don  Jose.  Morales, 

escamillo,  llllas  pastia. 

Il  Dancairo.  Carmen. 

Il  Remendado.  Micaela. 

Zuniga.  Frasquita. 
Mercedes. 

ACT   I. 

Jn  Spain,  at  and  about  Seville,  1820.  A  square  where, 
amid  much  movement  of  the  populace,  the  guard  is  being 
changed.  Don  Jose  comes  on  in  command  of  the  relief. 
The  girls  from  the  tobacco  factory  enter,  among  them 
Carmen,  who,  piqued  at  the  indifference  of  Jose,  puts 
herself  out  to  attract  his  notice  and  throws  him  a  small 
bunch  of  flowers.  This  excites  in  him  a  slight  interest, 
quickly  dispelled  by  the  entrance  of  Micaela,  his  sweet- 
heart from  the  mountains,  who  brings  him  a  message 
and  money  from  his  mother.  She  soon  goes,  however, 
and  a  disturbance  is  heard  among  the  factory  girls,  and 
Carmen's  name  is  bandied  about.  Jose  goes  within  and 
leads  out  Carmen,  who  has  stabbed  another  girl  in  a  dis- 
pute. He  is  ordered  to  tie  her  hands  and  guard  her  while 
commitment  papers  are  made  out.  During  this  time  Car- 
men tries  her  every  art  upon  him  and — he  succumbs.  It 
is  arranged  that  he  shall  loose  her  hands  and  as  they  reach 
the  foot  of  the  bridge  she  shall  push  him  over  and  escape. 
They  are  to  meet  afterwards.  The  thing  is  carried  out 
and,  reaching  the  top  of  the  bridge,  Carmen  laughs  at  the 
officer  and  soldiers. 


ACT   II. 

The  inn  of  Lillas  Pastia.  Carmen  is  there  enjoying 
herself  with  her  friends,  the  gypsy  smugglers.  Zuniga, 
the  officer  of  the  first  act,  pays  her  attention  and  tells  her 
that  Don  Jose  has  just  finished  his  term  for  conniving 
at  her  escape.  Carmen  is  pleased,  when  a  tumult  is 
heard  and  Escamillo,  a  bull  fighter,  appears  and  monop- 
olizes all  eyes  and  ears.  He  also  is  smitten  by  Carmen 
and  she  responds  to  his  advances.  The  order  is  given 
to  close  and  all  go  when  the  Dancairo  and  Remendado. 
coming  in,  propose  a  profitable  smuggling  expedition. 
Frasquita  and  Mercedes  will  go  and  try  to  persuade  Car 
1  en  to  do  so.  But  she  must  await  her  lover,  Don  Jose. 
They  tell  her  to  make  him  come,  too.  She  will  try. 
The  otl  e-*s  skip  out  as  Jose's  voice  is  heard.  The  two 
n  eet  with  great  fervor,  but  there  is  a  change  in  Jose 
when  <  armen  proposes  desertion  to  him.  She  twits  him 
with  his  weak  love  and  Jose  is  hesitating,  when  Zuniga. 
tl  e  officer,  appears  and  orders  him  harshly  to  his  quar- 
ters. Jose  refuses,  Zuniga  draws  his  sword  and  they 
fight.  After  drawing  on  an  officer  there  is  no  hope  for 
Jose,  so  he  escapes  with  Carmen  as  the  gypsies  rush  in 
and  make  Zuniga  a  prisoner. 

ACT  III. 

The  smugglers  are  encamped  in  a  mountain  defile. 
Jose  is  madly  in  love,  but  Carmen  is  tiring  of  him.  Sh<r 
reads  the  cards  and  sees  her  death  presaged.  But  she 
throws  off  the  despondency.  Escamillo,  who  has  been 
looking  for  Carmen,  enters  the  defile  and  meets  Jose, 
telling  him  his  object  is  love  and  that  he  understands 
she  is  sick  of  her  soldier  lover.  Jose  challenges  him  and 
they  draw  knives.  Escamillo  is  losing  ground  when  Car- 
men and  others  arrest  the  fight.  Escamillo  leaves  after 
inviting  them  all  to  the  bull  fight  at  Seville.  Then 
Micaela  arrives  to  beg  Jose  to  go  see  his  mother,  who 

8 


weeps  for  him.  Jose  won't  leave  Carmen,  but  when 
Micaela  tells  him  his  mother  is  dying  he  consents  to  fol- 
low her. 

ACT    IV. 

The  outside  of  the  old  bull  arena  in  Seville.  The  whole 
city  is  astir.  Frasquita  warns  Carmen,  who  has  come  in 
radiant  on  the  arm  of  Escamillo,  who  immediately  enters 
the  ring,  that  Jose  is  about,  looking  for  her.  Carmen 
does  not  care.  When  all  are  gone  Jose  confronts  her 
He  pleads.  She  answers  with  contempt.  He  still  begs 
for  a  word  of  kindness,  she  reviles  him.  But  when  she 
turns  to  go  and  join  Escamillo  he  draws  his  knife.  She 
runs,  he  pursues  her.  Then  he  strikes  and  she  falls  dead 
as  the  people  rush  out  of  the  arena. 


Though  Georges  Bizet  had  in  his  early  years  won  the  Prix 
de  Rome  and  also  a  prize  offered  by  Offenbach  for  the  best  one- 
act  opera  on  Doctor  Miracle,  he  was  uniformly  unsuc- 
cessful in  his  operatic  endeavors  until  his  musical  setting  to 
Daudet's  U Arlesienne  brought  him  much  praise  and  little  money. 
He  was  already  a  man  broken  in  spirit  and  health  when  Carmen 
was  brought  out  at  the  Opera  Comique  on  March  3,  1875,  and. 
though  its  success  was  immediate  and  immense,  it  came  too  late. 
Bizet  died  within  three  months  after  the  first  performance  and 
before  he  knew  that  not  Paris  alone  but  the  whole  world  was  to 
recognize  his  genius.  Wagner  considered  Bizet  the  greatest 
French  composer. 


Les  Pecheurs  de  Perles 

(The  Pearl  Fishers.) 

Opera  Comique  in  Three  Acts. 

Words  by  Michel  Carre. 

Music  by  Georges  Bizet. 

THE   CAST. 

Nadir.  Leila, 

zurga.  nourabad. 

ACT  I. 

A  ruined  Hindu  temple  looking  on  the  Indian  Ocean. 
on  the  Island  of  Ceylon.     The  Pearl  Fishers,  Indians 
and   fakirs   or   priests  of   Brahma,   make   Zurga   their 
chief,  or  king,  and  all  are  going  to  their  avocations 
when   Nadir,   a   runner   of   the  woods,   comes   among 
them.     He  is  known  to  all,  but  particularly  to  Zurga. 
They  used  to  be  companions,  but  both  fell  in  love  with 
the  same  woman,  a  priestess  of  Brahma.     In  place  of 
killing  one  another  over  it  they  both  swore  to  see  her 
no  more  and  parted.    They  have  kept  their  words  and 
meet  as  friends  again.     Music  now  announces  the  ar- 
rival of  Nourabad,  the  high  priest,  and  Leila,  a  veiled 
woman  who  is  vowed  to  the  good  fortune  of  the  fish 
eries.    She  is  to  remain  by  the  temple  and  pray.    Great 
will  be  her  reward,  but  any  lapse  from  purity,  even 
speech  with  man,  will  mean  death.   At  first  she  demurs, 
but  seeing  Nadir,  accepts   and  is  conducted   up  to  a 
plateau  by  the  priests.    The  fishermen  then  depart  an  ' 
Zurga  follows,  after  bidding  Nadir  a  friendly  good-by 
Nadir  is  for  going,  too,  when  he  catches  a  glimpse  o* 
Leila  and  is  amazed  to  see  in  her  the  woman  he  has  so 
long  loved.     She  sees  his  emotion  and  warns  him  of 
his  danger    He  must  not  address  her  lest  death  be  his 

10 


portion.     As   Nadir   hesitates   Nourabad   leads   Leila 
within  the  temple. 

ACT  II. 

Night  is  coming  on  and  Nourabad  tells  Leila  that 
she  may  go  to  her  repose.  She  revolts  at  being  left 
alone  in  so  inhospitable  a  place,  but  the  high  priest 
assures  her  that  she  is  well  guarded.  He  has  not  long 
departed,  however,  before  Nadir  announces  himself 
with  the  sounds  of  a  lute.  Leila,  when  he  comes,  im- 
plores him  to  go  away,  as  he  values  her  safety  and  his 
own.  But  his  ardent  words  soon  overcome  cold  rea- 
son, and  each  avows  to  the  other  undying  love.  He  is 
to  come  on  the  morrow  and  escape  with  her.  This, 
however,  is  thwarted  by  Nourabad,  who  discovers  them 
together  and  who  at  once  raises  an  outcry  that  brings 
all  the  people  running  in  to  see  the  cause  of  the  tumult. 
Nourabad  explains  and  Leila  is  seized,  also  Nadir,  who 
had  gone  on  his  way  before  the  disturbance.  As  the 
priests  are  about  to  take  both  away  Zurga  arrives  and 
listens  to  the  complaint.  For  the  sake  of  Nadir,  his 
friend,  he  treats  the  matter  lightly  and  orders  the  re- 
lease of  both.  Nourabad,  saying  that  they  had  better 
know  who  the  woman  is,  tears  the  veil  from  her  and 
reveals  to  the  astonished  eyes  of  Zurga  the  face  of  her 
whom  he  and  Nadir  had  loved.  Then  his  partiality 
toward  both  changes  to  hate,  and  he  orders  their  death. 
Leila  implores,  but  Nadir  disdains  to  ask  for  mercy! 
They  are  dragged  off  separate  ways. 

ACT  III. 

Zurga  is  in  his  tent.  He  cannot  find  it  in  himself  to 
have  Nadir,  the  friend  of  his  youth,  go  thus  to  his 
death.  He  is  ashamed  of  his  own  baseness.  Leila,  well 
guarded,  comes  to  him  and  asks  him  in  common  jus- 
tice to  release  Nadir,  as  she  was  alone  at  fault  and  is 
the  only  one  deserving  death.     Zurga  is  surprised  at 

ii 


this  abnegation,  and  asks  why.  Because,  she  answers, 
she  loves  Nadir.  Then  Zurga  flies  into  a  fit  of  ungov- 
ernable fury  and  swears  that  Nadir  shall  die.  She,  by 
her  avowal,  had  condemned  him.  She  begs,  but 
he  is  adamant.  Before  being  taken  away  she  hands  a 
pendant  to  a  young  Cingalee  with  a  request  that  it  be 
given  to  her  mother.  After  she  leaves  Zurga  examines 
the  pendant  and  recognizes  it  as  one  he  had  given  to  a 
young  girl  years  before  for  saving  him  from  his  ene- 
mies. He  rushes  away  to  undo  his  work.  In  the  next 
scene  they  are  awaiting  the  victims.  Nadir  has  his 
foot  on  the  first  step  to  death  when  Zurga  rushes  in, 
saying  that  the  village  is  on  fire.  He  takes  advantage 
of  the  disappearance  of  the  watchers  to  tell  Nadir  and 
Leila  that  he  himself  lighted  the  fire  to  give  them  a 
chance  to  escape.  As  they  do  so  Nourabad,  who  has 
overheard  Zurga's  confession,  brings  all  back  and  ac- 
cuses him  of  treason.  Zurga  is  thus  compelled  to 
mount  the  scaffold  prepared  for  Nadir  and  Leila,  whom 
he  saved. 


This  work  of  Bizet's  was  originally  brought  out  at  the  Thea- 
tre Lyrique  in  Paris  in  1863.  For  some  reason  it  had  no  great 
success  and  when  brought  out  here  at  the  Metropolitan  with 
Calve  in  the  days  of  Abbey,  Schoeffel  and  Grau  it  had  only  one 
performance.     Yet  the  music  is  beautiful. 


12 


Princesse  d'Jluberge 

(Princess  of  the  Inn.) 

Opera  in  Three  Acts. 

Original  Flemish  by  Nestor  de  Tiere. 

French  Words  by  Gustave  Lagye. 

Music  by  Jan  Blockx. 

THE   CAST. 

Bluts,  Innkeeper.  Katelyne. 

Rita,  his  daughter.  Merlyn,  her  son,  a  musician. 

Reinilde,  adopted  daughter  Marcus,  a   musician, 

of  Katelyne.  Rita's  Three  Sisters. 
Rabo,  a  blacksmith 

The  action  passes  at  Brussels  in  1750. 

ACT  I. 

In  front  of  Bluts'  tavern,  at  break  of  day.  Peasants 
enter  and  go.  Rabo,  sleeping  at  the  door  of  the  inn,  is 
kicked  by  a  man  coming  out  and  rises,  angry,  wanting 
to  know  who  he  is,  but  the  stranger  escapes.  Reinilde 
going  to  church  meets  Marcus,  who  tells  her  that  he 
loves  her,  but  she  answers  that  Merlyn  alone  has  her 
heart,  though  he  replies  that  art  alone  holds  his.  As 
they  go  off  the  crowd  begins  to  assemble,  the  windows 
of  the  inn  open  and  Rita  appears  with  her  three  sisters. 
A  crowd  of  young  men  tempestuously  greet  her  and 
enter  the  inn  as  Bluts,  already  drunk,  comes  in  with 
his  friends.  Then  Merlyn  appears  accompanied  by 
Marcus,  who  asks  him  why  he  does  not  join  the  joyous 
throng.  He  answers  that  art  is  his  only  mistress  and 
his  sole  ambition  is  to  gain  the  prize  offered  in  the 
great  national  competition.  As  they  talk  Rita  and  her 
sisters,  Bluts,  his  companions  and  the  jolly  company 
emerge  from  the  inn  and  join  in  song  and  dance  while 
the  scandalized  neighbors   appear  at  their  windows, 

13 


Marcus  endeavors  to  bring  Rita  and  Merlyn  together, 
but  the  latter  resists.  He  rejects  her  approaches.  She, 
piqued,  redoubles  her  endearments  and  he  ultimately 
accepts  a  glass  of  wine  from  her  hand.  She  embraces 
him  and  he  yields  to  the  charm  of  her  presence  and,  glass 
in  hand,  toasts  her  while  all  applaud,  all  except  Rabo, 
who  stands  jealous  and  menacing  in  the  background. 

ACT  II. 

The  living  room  in  Katelyne's  house.  She  is  alone 
and  laments  the  three  months  that  her  son,  Merlyn, 
has  given  himself  over  to  debauch.  Reinilde,  who  still 
loves  Merlyn,  weeps  with  her.  As  Merlyn  enters,  all 
in  disorder,  Reinilde  retires  to  a  corner.  The  sounds 
of  the  carnival  are  heard  from  outside.  Merlyn  tries 
to  work,  but  impatiently  pushes  the  papers  aside. 
Reinilde  gently  sings  one  of  his  own  songs  to  him.  In 
it  she  pleads  for  a  return  of  his  better  self.  Merlyn, 
touched,  promises  to  change  his  manner  of  life  and  as 
the  songs  of  the  carnival  are  heard  again  he  speaks 
with  disgust  of  such  pleasures.  Just  then  Bluts,  ac- 
companied by  Rabo,  enters  to  dun  Merlyn  for  a  wine 
bill.  Merlyn  has  no  money  and,  to  get  rid  of  them, 
reinilde  pays.  Humiliated  beyond  measure,  Merlyn 
resolves  to  be  a  man  again  and  when  Marcus  enters 
confides  his  decision  to  him.  Marcus  answers  that  it 
is  just  as  well,  for  Rita,  offended  by  Merlyn's  coolness, 
had  lately  shown  an  inclination  for  a  certain  rhymster. 
This  excites  Merlyn's  jealousy  and  he  becomes  furious. 
r\t  this  moment  Rita  and  her  sisters  appear  in  carnival 
costume.  Merlyn  reproaches  her  for  coming, here,  but 
Rita  laughs  it  off  while  Marcus  runs  to  fetch  Reinilde. 
Rita  wants  Merlyn  to  join  them  in  their  pleasures. 
He  reproaches  her  with  caring  for  another,  but -she  as- 
sures him  that  he  is  her  only  love,  and  under  the  in- 
fluence  of  her  fascination  he  soons  forgets  all  his  good 

14 


resolutions,  falls  back  under  her  influence  and  drags 
her  away.  Just  then  Katelyne  and  Reinilde  come  back 
to  see  the  ruin  of  their  hopes.  Marcus  appears  and 
telling  Reinilde  again  of  his  love  points  to  Merlyn  as 
irrevocably  lost.  Reinilde  contemptuously  rejects  him 
and  swears  she  will  save  Merlyn  yet.     Marcus  rages. 

SCENE  TWO.  The  Public  Place  in  Brussels.  It 
is  the  celebration  of' the  carnival  and  crowds  invade 
the  stage.  Notable  among  them  are  Merlyn  and  Rita, 
crowned  as  Zephir  and  Flora  in  the  centre  of  a  float 
and  holding  each  other  embraced.  Rabo  contemplates 
them  with  hatred  and  curses  them.  Amid  general  re- 
joicing the  curtain  falls. 

ACT  III. 

Interior  of  the  inn.  Rita  lets  it  be  known  that  Mer- 
lyn is  asleep  within.  Rabo  enters  and  threateningly 
reproaches  her  for  loving  Merlyn.  She  asks  what 
business  it  is  of  his.  He  reminds  her  of  the  time  when 
he  dressed  well  and  had  money  and  spent  it  on  her. 
Now  that  he  is  a  drunkard  she  spurns  him  in  favor  of 
another.  She  tells  him  if  he  does  not  like  it  to  get  out. 
He  leaves,  saying  a  barking  dog  will  at  last  bite.  Then 
the  three  sisters  come  in  and  tell  Rita  she  is  a  fool  to 
love  a  man  who  can  no  longer  pay  his  way.  Rita  tells 
them  that  as  she  draws  all  the  money  to  the  inn  she  is 
the  princess,  they  are  mere  servants.  As  the  row  ends 
Katelyne  and  Reinilde  come  to  beg  Rita  not  to  further 
ruin  Merlyn.  Rita  treats  them  with  disdain,  and  Rein- 
ilde turns  angrily  upon  her  and  threatens  her  with 
punishment.  Rita  laughs  at  them  as  they  go.  Merlyn 
then  comes  from  an  inner  room,  the  worse  for  wear, 
and  calls  for  wine  as  several  of  his  friends  come  in  and 
all  start  drinking,  Rita  filling  the  glasses.  Marcus  ar- 
rives and  urges  them  on,  all  shouting  that  Merlyn  is 
sure  to  win  the  great  prize  this  very  day      Bluts  brings 


in  several  musicians  and  sings  and  a  dance  is  proposed. 
While  they  are  all  in  the  midst  of  gaiety  Rabo  enters 
with  his  companions  and,  calling  for  drink,  begins  to 
pick  a  quarrel.  Rita  orders  them  out.  Rabo  turns 
upon  her  and  tells  her  she  was  his  too  long  to  now  ig- 
nore him  in  this  way.  Rita  and  Merlyn  tell  him  he 
lies,  but  he  goes  on  piling  insults  upon  both  and  throws 
a  knife  at  Merlyn's  feet,  at  the  same  moment  borrowing 
another  from  a  friend.  Rita  tries  to  stop  the  fight,  but 
the  others  form  a  circle  around  the  two  men.  At  first 
Rabo  is  wounded,  but  immediately  after  strikes  Merlyn 
full  in  the  chest.  He  falls.  Great  confusion  ensues 
and  soldiers  enter  and  make  a  prisoner  of  Rabo.  Just 
then  the  crowd  outside  proclaim  that  Merlyn  has  won 
the  prize  and  Katelyne  and  Reinilde  come  to  tell  him 
the  glad  news  only  to  find  him  dying.  While  the 
mother  weeps  by  his  side,  Reinilde  seizes  one  of  the 
knives  on  the  floor  and  makes  a  mad  rush  at  Rita.  She 
does  not  defend  herself  and  the  knife  falls  from  Rein- 
ilde's  grasp  as  she  exclaims  that  eternal  remorse  is 
worse  than  death.  She  calls  down  vengeance  both  on 
Marcus  and  Rita  as  the  distant  chimes  play  the  air 
that  won  the  national  prize  for   Merlyn. 


This  work  was  originally  brought  out  on  October  10,  1896,  at 
lhe  Flemish  Opera  in  Antwerp  and  was  sung  in  that  language. 
Its  success  was  such  that  a  French  version  was  made,  and  met 
with  equal  approbation  at  the  Paris  Onera  Comique.  A  popular 
revival  of  the  opera  occurred  at  the  Varieties  Theatre  in  Paris 
during  the  past  summer. 


16 


Dolores 

Opera  in  Three  Acts. 
Words  and  Music  by  Breton. 


THE   CAST. 

Lazzaro. 

Celemino. 

Melchiorrk. 

Dolores. 

Rojas. 

Gaspara. 

Patrizio. 

ACT  I. 

The  action  takes  place  at  Calatayud,  a  small  town 
in  Spain,  in  front  of  Gaspara's  inn.  Patrizio,  a  rich 
townsman,  and  Celemino,  an  inveterate  gossip,  talk 
while  sipping  their  wine,  about  the  charming  Dolores, 
who  is  employed  at  the  inn  and  whose  beauty  attracts 
custom  to  it.  Patrizio  is  in  love  with  her,  but  Celemino 
intimates  that  Melchiorre,  the  handsome  barber,  has 
already  won  her  heart..  Rojas,  a  boastful  soldier, 
comes  along  specially  to  capture  Dolores'  love,  but  she 
and  the  others  laugh  at  him.  Lazzaro,  a  young  Semin- 
arist and  godson  of  Gaspara,  makes  only  a  fugitive  ap- 
pearance but  enough  to  show  that  he  also  is  under  the 
influence  of  Dolores.  As  Patrizio  is  about  to  organize 
a  yota  (a  little  festival  of  song  and  dance)  in  honor  of 
Dolores,  Melchiorre  enters  and  roughly  orders  them 
away.  They  meekly  submit,  including  the  vainglori- 
ous Rojas.  Melchiorre  then  bluntly  tells  Dolores  that 
he  rinds  it  to  his  advantage  to  get  married.  She  is 
amazed  and  reproaches  him  with  his  broken  vows.  He 
laughs  her  to  scorn  and  she  threatens  him  with  ven- 
geance for  a  ruined  life.  He  defies  her  and  while  vow- 
ing mutual  hatred  they  are  interrupted  by  the  yota, 
where  the  guests  improvise  their  songs.  On  Mel- 
chiorre's  turn  he  grossly  insults  Dolores  and  causes 
general  confusion      Dolores  is  beside  herself  with  hu 

*7 


miliation  and  rage  and  exclaims  that  she  will  get  her  re- 
venge.    The  yota  resumes. 

ACT  II. 

Courtyard  of  the  inn.     Lazzaro,  alone,  asks  Heav- 
en's help  to  overcome  his  guilty  love  for  Dolores.     Pa- 
trizio  enters  loaded  with  presents  for  the  girl,  but  Rojas 
tells  him  it  will  do  no  good,  for  he  himself  is  the  favored 
one.     The  bull  fighters  enter  and  Rojas  volunteers  to 
be    the    toreador.      They    dissuade    him    but    he    insists 
and  tells  them  how  he  will  polish  it  off.     As  they  all 
go  to  dine  Melchiorre  comes  in  and  insists  that  Patrizio 
and  Rojas  remain  and  listen  to  him.     He  tells  then* 
that  he  has  been  the  lover  of  Dolores,  but  when  he  is 
tired  others  can  have  her.     Both  are  afraid  to  resent 
what  he  says  or  to  avow  their  feeling  for  the  girl.     He 
tells  them  to  go  out  and  wait  while  he  talks  to  Dolores. 
When  she  comes  he  tells  her  that  he  repents,  that  he 
still  loves  her  and  asks  her  to  meet  him  that  night. 
She  believes  he  conceals  some  treachery  but  agrees  to 
meet  him  at  ten.     He  goes  out  and  tells  the  two  of  his 
appointment,  and  they  come  back  accusing  her.     She 
says  Melchiorre  lies.     Patrizio  wants  a  secret  appoint- 
ment and  she  makes  one  for  ten  that  night  and  when 
Rojas  desires  one  she  names  the  same  hour.     Each, 
however,  is  faint-hearted,  fearing  to  meet  Melchiorre. 
Lazzaro   comes   in   after  they   are   gone   and,  carried 
away,   avows   his   passion   for   Dolores.     She    sympa- 
thizes with  but  discourages  him,  though  she  sees  that 
here  would  be  a  champion  in  need.     As  they  are  about 
to  part  Lazzaro  kisses  her  hand  and  Celemino,  coming 
in  at  the  moment  and  seeing  it,  makes  an  outcry,  call- 
ing all  the  people  in  to  see  a  priest  making  love.     Laz- 
zaro knocks  him  down  and  offers  to  repeat  the  perform- 
ance with  any  other.     But  the  bull  fight  is  now  an* 
nounced  and  Rojas  takes  his  place  as  toreador      The 

t8 


fight  is  now  described  by  the  people  on  the  stage.  Ro- 
jas  meets  the  bull,  is  promptly  overthrown  and  would 
be  gored  to  death  but  for  Lazzaro,  who  jumps  in  the 
ring  and  tackles  the  bull  and  finally  kills  him.  He 
comes  back  amid  the  acclamations  of  the  people,  sup- 
porting the  wounded  Rojas.  As  all  rejoice  Melchiorre 
reminds  Dolores  of  her  appointment.  She  agrees,  but 
when  Lazzaro  approaches  her  she  privately  tells  him  to 
come  to  her  room  at  ten  that  night.  Melchiorre  gives 
a  toast  to  the  toreador.     Dolores  heartily  seconds  it. 

ACT  III. 

The  scene  shows  Gaspara's  room  and  that  of  Do- 
lores behind  it.  Lazzaro  is  saying  the  rosary.  During 
it  Celemino  tells  Dolores  that  he  has  been  unable  to 
persuade  Melchiorre  not  to  come  that  night.  After  it 
is  over  Gaspara  informs  Lazzaro  that  he  must  leave 
for  the  seminary  in  the  morning.  She  packs  his  trunk. 
Celemino  then  warns  Lazzaro  against  any  love  for  Do- 
lores, saying  she  is  a  soiled  creature.  Lazzaro  tells 
him  to  beware  how  he  speaks  of  her,  so  Celemino  goes 
to  tell  Gaspara,  who  suspects  nothing.  Patrizio  and 
the  others  come  in  to  invite  Lazzaro  to  music  and 
wine,  but  he  refuses.  When  all  are  gone,  Gaspara,  in- 
censed by  what  Celemino  has  told  him,  turns  on  Do- 
lores and  orders  her  out  of  the  house.  Dolores  ac- 
knowledges that  Lazzaro  loves  her,  but  she  wants  him 
away  to  avoid  a  meeting  with  Melchiorre.  Gaspara 
therefore  orders  Lazzaro  to  go  away  that  night  and  he 
obeys,  saying  adieu  to  both.  Alone,  Dolores  laments 
the  loss  of  him,  when  suddenly  he  jumps  through  the 
window.  He  has  returned  to  tell  Dolores  all  his  love, 
but  grows  suspicious  at  her  troubled  air.  She  implores 
him  to  leave,  avowing  she  loves  him,  when  the  sound  of 
the  patrol  is  heard  approaching  and  then  the  voice  of 
Melchiorre  with  his  insulting  song.     She  still   urges 

19 


him  to  go  but  he  has  heard  the  words.  He  pretends 
to  leave,  when  Melchiorre  enters,  only  again  to  over- 
whelm Dolores  with  evil  propositions.  As  she  defends 
herself  Lazzaro  appears  and  tells  Melchiorre  only  one 
of  them  shall  leave  the  place  alive.  After  a  short  in- 
terchange of  words  they  both  enter  the  room,  of  Do- 
lores and  close  the  door,  while  she  frantically  calls  for 
help.  Almost  at  once  Lazzaro  returns,  saying  Mel- 
chiorre is  dead..  As  the  people  rush  in  wanting  to 
know  what  is  the  matter  Dolores  accuses  herself  of 
Melchiorre's  death,  but  Lazzaro  says  it  is  untrue.  He 
alone  killed  him  because  he  had  insulted  this  woman. 


Dolores,  though  written  in  and  for  Italy,  has  had  its  principal 
success  in  Spain  and  Portugal,  where  it  is  very  popular.  Mr. 
Hammerstein  heard  it  at  Lisbon  in  1905,  and  bought  the  American 
rights  to  it  at  once.     The  work  is  quite  modern. 


.20 


Louise 


Musical  Romance  in  Four  Acts. 
Words  and  Music  by  Gustave  Charpentier. 


THE   CAST. 


JULIEN. 

Father  (of  Louise). 

Louise. 

Her  Mother. 

Newspaper-Folder. 

Coal-Gatherer. 

Marguerite. 

Madeleine. 

Father  of  Fools. 

A  Ragman. 

An  Old  Bohemian. 

First  Philosopher. 

A  Student. 

First  Policeman. 

Second  Policeman. 


Second  Philosopher. 

Old-Clothes  Man. 

Irma. 

Camille. 

Gertrude. 

Apprentice. 

Street  Arab. 

Elise. 

Blanche. 

Suzanne. 

Street- Sweeper. 

Forewoman. 

Young  Ragpicker. 

Milkwoman. 


Scene — In  the  Paris  of  To-day. 

ACT  I. 

Louise  is  at  home, 
alone.  On  the  bal- 
cony of  the  house 
opposite,  Julien,  a 
poet,  stands  telling 
her  of  his  love.  He 
has  written  to  her 
father  asking  for  her 
hand  in  marriage  but 
has  been  refused,  so 
what  are  they  to  do? 
Louise  tells  him  to 
write  again  and  if 
there  is  another  re- 
fusal    then As 

they  exchange   confidences  the  mother   comes  in,  over- 

21 


DALMORES 


hears  in  part  and  roughly  pushes  Louise  back  and 
orders  Julien  away.  She  then  reproaches  Louise,  who 
defends  Julien  as  the  father  comes  in  tired  from  his 
work  and  calling  for  his  supper.  He  has  Julien's  letter 
in  his  hand.  The  three  sit  and  eat.  After  supper  the 
women  remove  the  things  and  the  father  reads  the  letter 
and  tells  the  mother  what  it  is.  She  violently  opposes  the 
idea  and  calls  Julien  unpleasant  names.  Louise  resents 
and  the  mother  slaps  her  face.  The  father  endeavors  to 
console  Louise  but  the  mother  from  the  kitchen  mocks 
at  them  though  the  father  is  all  kindness.  He  asks 
Louise  to  read  the  paper  to  him  and  as  she  begins 
about  the  pleasures  of  Paris  she  sobs  and  the  curtain 
falls. 

ACT  II. 

FIRST  SCENE.  An  open  place  on  the  way  to 
Montmartre,  with  nighthawks  plying  the  last  remnants 
of  their  trade.  People  begin  arriving  for  the  day's 
work,  an  early  morning  Paris  scene.  Julien  and  the 
Bohemians  come  in  and  then  leave  Julien  alone  watch- 
ing  for  the  arrival  of  Louise.  As  the  work  girls  be- 
longing to  her  shop  arrive,  he  hides.  The  mother 
comes  with  Louise,  suspicious  of  everybody.  She  tells 
her  daughter  that  hereafter  she  will  have  her  work  at 
home.  Louise  enters  and  no  sooner  is  the  mother  gone 
than  Julien  rushes  after  the  girl  and  drags  her  play- 
fully out.  He  begs  of  her  to  ignore  her  cruel  parents 
and  flee  with  him  but  she  is  obdurate.  He  reproaches 
her  with  indifference,  but  she  says  that  to  leave  thus 
would  be  to  kill  her  father,  and  she  goes  within,  tearing 
herself  away  from  Julien. 

SECOND  SCENE.  A  dressmaker's  atelier,  full  of 
workgirls,  Louise  among  them.  The  girls  laugh,  talk 
and  work  at  their  trade  discussing  each  other's  love  af- 
fairs.    A  street  band  and  a  singer  are  heard  outside. 

22 


It  is  Julien  accompanied  by  his  friends.  The  girls  are 
all  excitement  and  praise  of  the  singer,  but  Louise 
becomes  very  nervous.  The  singer  goes  on  but  begins 
to  bore  the  girls  and  they  turn  from  terms  of  praise  to 
those  of  insult.  Louise,  all  excitement,  rises  and  say- 
ing she  feels  ill,  suddenly  leaves  the  shop.  The  girls 
are  astonished  but  they  burst  into  laughter  when,  from 
the  window,  they  see  Louise  going  away  with  the 
singer,  who  is  Julien. 

ACT  III. 
A  small  house  on  Montmartre,  Paris  below.  Julien 
and  Louise  are  together  and  they  have  a  long  love 
scene  in  which  they  justify  themselves  for  what  they 
have  done  and  glorify  Paris,  their  common  mother. 
They  retire  to  the  little  house  and  immediately  after 
men  come  on  and  decorate  the  balcony  with  lanterns. 
Then  the  crowd  arrive  and  call  on  Louise  to  appear. 
They  wish  to  crown  her  Muse  of  Montmartre  and, 
while  the  whole  chorus  sing,  they  go  through  a  mock 
ceremony  amid  exclamations  of  joy  and  a  charivari  of 
nonsense.  Suddenly  a  dismal  note  is  struck.  It  is 
the  arrival  of  the  mother  and,  as  she  approaches,  silence 
falls  on  everybody,  the  crowd  melts  away  and  Julien 
and  Louise  are  left  alone  to  face  her.  She  pleads  with 
Louise  to  return  home  because  her  father  is  sick  and 
dying.  She  alone  can  save  him.  If  she  will  consent 
she  will  have  full  liberty  to  go  and  come  as  she  pleases. 
Julien  and  Louise  both  hesitate  a  little,  but  at  length 
they  agree.  Louise  follows  the  mother.  Julien  re- 
mains alone. 

ACT  IV. 

The  same  scene  as  the  first  act.  The  father  is  at 
table,  the  mother  in  the  kitchen  and  Louise  in  her  room 
sewing.  The  father  sings  his  song  of  despair  over  the 
sufferings  of  the  poor  and  the  ingratitude  of  children 

23 


The  mother  calls  on  Louise  to  come  and  help  her  and 
asks  her  if  she  has  no  pity  for  her  father.  Louise  is 
rebellious.  She  has  been  promised  liberty  and  has 
only  been  made  a  prisoner.  She  wants  to  see  her 
lover  and  the  mother  mocks  her  with  the  cry  of  Free 
Love.  Exasperated,  Louise  goes  back  to  her  room 
with  a  cold  good  night  to  her  father,  but  he  catches  her 
in  his  arms  and  places  her  on  his  knee,  speaking  gently 
to  her.  But  these  blandishments  do  not  soften  her  and 
she  answers  her  father  shortly.  He  speaks  of  happi- 
ness, but  she  cannot  be  happy  as  a  bird  in  a  cage.  The 
promises  made  to  her  have  been  broken.  But  the  free- 
dom she  wants,  says  the  father,  is  to  bring  them  all  to 
shame.  Louise  revolts  at  this  and  she  then  hears  the 
Voices  of  Paris.  She  exclaims  that  they  are  calling  to 
her.  The  father  tries  to  stop  her,  but  she  works  her- 
self into  a  sort  of  frenzy.  She  calls  on  Julien  and 
rushes  towards  the  door.  The  father  bars  the  way. 
She  defies  them  both  and  the  father  in  a  paroxysm  of 
rage  throws  open  the  door  and  orders  her  from  the 
house.  She  flees.  Repenting  he  follows  her  to  the 
stairs,  then  comes  back  and  shaking  his  fist  at  the  city 
exclaims,  "Oh,  Paris !"  and  falls  in  his  chair,  broken  in 
heart  and   spirit. 


Since  its  first  production  at  the  Opera  Comique  in  Paris  seven 
years  ago  the  success  of  Louise  has  shown  no  abatement.  Its 
author  and  composer  has  been  content  to  rest  on  his  laurels  ever 
since.  But  two  new  forthcoming  works  have  now  been  an- 
nounced from  Gustave  Charpentier's  pen,  disproving  the  fantastic 
stories  current  that  he  was  disqualified  for  further  work.  Mr. 
Hammerstein  has  secured  the  exclusive  option  on  all  future  work 
by  Charpentier. 


24 


Pelleas  and  Melisande 

Lyric  Drama  in  Five  Acts  by  Maurice  Maeterlinck. 
Music  by  Claude  Debussy. 


THE    CAST. 

GOLAUD. 

Genevieve. 

Pelleas. 

Little  Yniold. 

Arkel. 

A  Physician. 

Melisande. 

ACT  I. 

SCENE  I.  Melisande 
weeps  by  the  side  of  a 
fountain  in  the  depth  of 
a  dense  forest.  Golaud, 
eldest  grandson  of  King 
Arkel,  comes  upon  her 
while  out  hunting-.  In  an- 
swer to  his  inquiries  she 
will  tell  nothing  about 
herself.  Golaud  persuades 
her  to  leave  this  lonely 
place  and  go  away  with 
him. 

SCENE  II.   In  the  cas- 
tle   of    old    King    Arkel 
Madame  Genevieve,   who 
is    the    mother    of    both 
Golaud  and  Pelleas,  tells 
old  King  Arkel  that  Pel- 
leas has  received  a  letter  from  his  brother  in  which  he 
says  that  he  has  married  Melisande,  though  he  knows  no 
more  about  her  than  the  first  day  they  met.    He  wants  to 

.  25 


DUFRANNE. 


know  if  he  will  be  welcome.  If  so,  a  light  should  be 
placed  on  the  highest  tower  at  night.  If  it  is  not  there  he 
will  pass  on.    Pelleas  is  told  to  see  to  the  light. 

SCENE  III.  Melisande  and  Genevieve  are  in  the  gar- 
dens at  night  and  Melisande  is  astonished  at  how  old  and 
dark  everything  is.  Pelleas  comes  and  shows  the  beacons 
being  lighted.  They  see  a  ship  sailing  away.  It  is  the 
one  in  which  Melisande  came.  Pelleas  says  he  is  going 
away.     Melisande  asks  why. 

ACT  II. 

SCENE  I.  Pelleas  and  Melisande  talk  together  near 
a  fountain  in  the  park.  She  sits  on  the  edge  of  it  and 
bends  over  so  that  he  is  afraid  she  will  fall  in.  She  speaks 
indifferently  of  Golaud  and  plays  with  her  wedding  ring, 
throwing  it  high  in  the  air.  Pelleas  warns  her  that  it  may 
fall  into  the  water.  If  so  she  will  not  be  able  to  recover 
it,  the  water  is  so  deep.  She  utters  a  cry !  The  ring  has 
fallen  and  disappears  in  the  depths.  Noon  rang  out  as 
the  ring  fell.  What  will  they  say  to  Golaud?  The  truth, 
answers  Pelleas. 

SCENE  II.  Golaud  lies  shaken  and  bruised  in  his 
apartments,  and  Melisande  nurses  him.  He  tells  her  that 
he  was  hunting  on  horseback.  Without  warning,  at  the 
stroke  of  twelve,  his  horse  unaccountably  ran  away  and 
then  fell  on  him.  But  his  injuries  will  pass  away.  He  is 
strong.  Melisande  suddenly  weeps.  She  is  not  well  here 
and  wants  to  go  away.  It  is  so  dark,  so  melancholy. 
Golaud  treats  her  whims  as  childish.  Taking  her  hand  he 
notices  the  absence  of  the  ring.  Melisande  confusedly 
tells  him  that  while  gathering  shells  for  little  Yniold  in 
the  grotto  by  the  sea  she  had  dropped  it.  He  tells  her  to 
go  and  find  it  at  once,  as'  the  tide  may  wash  it  away.  What, 
at  night  ?  Yes,  he  tells  her,  and  let  her  get  Pelleas  to  help 
her. 

26 


SCENE  III.  Pelleas  and  Melisande  are  in  the  grotto 
not  to  find  the  ring,  which  they  know  is  not  there,  but  so 
as  to  be  able  to  describe  to  Golaud  the  place  where  she 
said  she  lost  it.  They  see  three  blind  men  in  the  grotto. 
This  means  misfortune,  says  Pelleas. 

ACT  III. 

SCENE  I.  Melisande  combs  her  hair  at  her  window  in 
the  tower.  Pelleas  comes  and  as  Melisande  leans  out  he 
tells  her  how  beautiful  she  is.  He  wants  her  to  give  him 
her  hand,  as  he  is  going  away  on  the  morrow.  She  makes 
him  promise  not  to  go,  to  wait.  As  she  bends  over  farther 
her  long  hair  suddenly  falls  and  covers  Pelleas,  and  he 
holds  it  so  firmly  that  she  is  in  danger  of  falling.  But  she 
hears  a  noise  of  footsteps  and  Pelleas  releases  her.  Golaud 
comes  in  and  asks  Pelleas  what  he  is  doing  there  and  he 
knows  not  what  to  answer.  Golaud  says  they  are  a  couple 
of  children  and  he  goes  out  with  Pelleas. 

SCENE  II.  Golaud  takes  Pelleas  to  the  vaults  of  the 
castle  and  shows  him  the  deep  and  dark  cloaca  there. 
Pelleas  is  afraid  and  is  glad  to  get  away. 

SCENE  III.  Pelleas  breathes  freely  again  the  air  of 
the  gardens.  Golaud  warns  him  to  be  less  in  the  company 
of  Melisande.  She  may  soon  be  a  mother  and  must  not 
be  subjected  to  excitement.  Therefore  avoid  her,  but 
without  affectation. 

SCENE  IV.  Golaud  enters  with  little  Yniold  and  they 
sit  in  the  night  under  Melisande's  window\  Golaud  ques- 
tions Yniold  about  the  relations  of  Pelleas  and  Melisande. 
He  tells  his  father  that  they  are  often  together.  He  has 
only  seen  them  kiss  once,  but  they  weep  often.  Golaud 
hoists  Yniold  up  to  the  window.  He  sees  Pelleas  in  Meli- 
sande's room.  They  do  not  speak,  but  look  at  one  another. 
They  do  not  come  near  each  other.  Golaud  hurts  Yniold 
and  he  screams  to  be  let  down.    They  go  out 

27 


ACT  IV. 

SCENE  I.  Pelleas  meets  Melisande  in  a  passage  of 
the  castle.  They  make  an  agreement  to  meet  a  last  time 
that  night  by  the  fountain.  Pelleas  is  going  away  on  the 
morrow.  They  go  out  and  King  Arkel  returns  with 
Melisande  and  speaks  kindly  to  her.  Golan d  enters.  He 
pushes  Melisande  away  roughly  when  she  goes  to  him 
and  gibes  her  about  her  great  innocence  that  Arkel  speaks 
of.  Then  he  seizes  her  by  the  hair  and  drags  her  this  way 
and  that  and  throws  her  to  the  ground  violently.  He  ut- 
ters veiled  threats  and  leaves. 

SCENE  II.  Pelleas  waits  by  the  fountain.  Melisande 
comes  late  and  out  of  breath.  Pelleas  tells  her  he  never 
knew  what  beauty  was  until  he  saw  her.  She  passively 
accepts  his  homage  and  submits  to  his  kisses.  She  hears 
a  noise,  some  one  is  behind  them.  He  can  see  nobody. 
Yes,  yes,  she  says,  it  is  Golaud.  Pelleas  also  sees  him 
now  and  says  that  he  has  his  sword.  He  tells  Melisande 
to  flee,  but  she  will  not  and  catches  Pelleas  in  her  arms 
and  they  kiss  one  another  wildly.  Golaud  rushes  upon 
them  and  passes  his  sword  through  Pelleas,  who  falls. 
Melisande  flees  terror  stricken.     Golaud  pursues  her. 

ACT  V. 

Arkel,  Golaud  and  the  physician  are  in  Melisande's 
room.  She  is  on  the  bed  asleep.  Golaud  tells  Arkel  that 
he  repents  what  he  has  done.  When  Melisande  awakens 
she  appears  to  have  forgotten  everything.  She  greets 
Golaud  pleasantly.  He  asks  the  other  two  to  leave  him 
alone  with  her.  Then  he  asks  her  to  tell  him  if  she  loved 
Pelleas  and  she  answers  that  of  course  she  did.  Was  it  a 
forbidden  love?  Had  they  been  guilty?  No,  she  says. 
But  his  mind  is  full  of  torturing  doubts,  and  he  asks  again 
and  again,  only  to  get  baffling  answers.  Arkel  returning 
with  the  physician  tells  Golaud  that  this  torturing  will  kill 

2$ 


her.  Melisande  is  surprised  to  be  shown  her  child,  but 
she  is  too  weak  to  hold  it.  The  servants  come  and  range 
themselves  against  the  wall.  Golaud  orders  them  away, 
but  they  do  not  obey  him  and  all  fall  on  their  knees.  The 
physician,  approaching  the  bed,  says  they  are  right.  Go- 
laud  breaks  down.    Arkel  orders  everyone  from  the  room. 


No  lyric  work  has  been  more  discussed  since  its  production  at 
the  Opera  Comique  in  Paris  four  years  ago.  Popularly  speaking, 
it  was  at  first  a  quasi  failure,  but  appreciation  of  its  qualities  has 
rapidly  grown,  Maurice  Maeterlinck,  the  author  and  Claude  De- 
bussy, the  composer,  early  quarreled  over  minor  points  of  the 
production,  since  which  Maeterlinck  has  taken  no  further  interest 
in  it.  He  was  further  displeased  because  his  wife  was  not  given 
the  part  of  Melisande. 


29 


La  Fille  du  Regiment 

Opera  in  Two  Acts. 
Music  by  Donizetti. 


THE   CAST. 

Ton  io. 

Sulpice. 

Ortensius. 

Corporal. 

Marie. 

The  Marchioness. 

In  the  Tyrol  During  the  Napoleonic  Invasion. 

ACT  I. 

Marie  is  a  vivandiere  in  the  French  army.  She  has 
been  found  when  a  baby  lying  near  a  battlefield,  by  Sul- 
pice of  the  Twentieth  Foot,  and  has  been  adopted  and 
brought  up  by  the  regiment.  Sulpice  has  treasured  a  paper 
he  found  pinned  to  the  clothes  of  the  child. 

This  is  told  in  the  first  scene  between  Marie  and  Sul- 
pice, and  she  speaks  of  her  affection  for  all  her  fathers  of 
the  regiment,  but  she  also  lets  out  that  she  has  conceived 
a  particular  regard  for  a  young  Swiss  by  name  Tonio.  As 
she  says  this  the  corporal  brings  in  a  young  fellow  whom 
he  has  arrested  as  a  spy.  It  turns  out  to  be  Tonio  who 
has  been  trying  to  get  near  Marie.  She  recognizes  and 
defends  him  as  the  one  who  saved  her  life  when  she  was 
falling  from  a  precipice.  They  then  greet  him  pleasantly, 
and  as  they  go  to  roll  call  Tonio  remains  behind  with 
Marie  and  they  have  their  love  scene.  After  they  are 
gone  Sulpice  enters  with  the  Marchioness,  to  whom  he 
has  shown  the  paper  he  has  found  on  Marie.  It  fixes 
the  fact  that  she  is  Marie's  mother,  but  for  reasons  she 
only  wishes  to  appear  as  her  aunt.  It  is  apparent,  how- 
ever, that  she  must  take  the  girl  at  once  from  these  sur- 
roundings, and  the  remainder  of  the  act  is  taken  up  with 
Marie's  departure  and  the  sorrow  of  the  regiment,  inclu- 
ding Tonio,  who  has  enlisted  to  be  near  Marie. 

30 


ACT  II. 

Mane  is  at  the  castle  of  Birkenfels  surrounded  with 
all  sorts  of  professors.  She  can  support  this  if  she  can 
only  have  Tonio,  too,  but  the  Marchioness  intends  her  for 
something  higher.  Sulpice  is  here,  too,  wounded,  and  the 
Marchioness  is  greatly  annoyed  at  their  memories  of  the 
regiment  days.  When  she  is  gone  Tonio  arrives  with 
some  men  of  the  regiment.  The  Marchioness  returns  and 
finds  that  Tonio  is  still  in  love  with  Marie,  but  she  rejects 
his  suit  as  before,  even  though  he  is  now  an  officer,  saying 
that  Marie's  hand  is  to  be  given  to  the  son  of  a  duchess. 
Tonio  and  Marie  agree,  in  view  of  this,  to  elope.  But  the 
Marchioness  begs  the  aid  of  Sulpice  to  thwart  this  de- 
sign, and  Marie  is  about  to  consent  to  sign  the  hateful 
contract  of  marriage  when  the  regiment  led  by  Tonio  in- 
vades the  chateau  to  rescue  her.  At  first  the  Marchioness 
resists  his  prayers,  but  soon  gives  way  to  Marie's  en- 
treaties, and  obeying  her  mother's  instinct,  decides  in 
favor  of  her  daughter's  happiness. 


First  brought  out  at  the  Opera  Comique,  Paris,  on  April  10. 
1840. 


31 


Linda  di  Chamounix 

Opera  in  Three  Acts, 

Taken  from  "La  Grace  de  Dieu"  by  Adolphe  Dennery. 

Music  by  Donizetti. 

THE  CAST. 

Marquis  de  Boisfleury.  Pierrotto. 

vlcomte  de  slrval.  the  intendant. 

Antonio.  Linda. 

The  Prefect.  Maddalena. 

Period  1760  at  Chamounix  and  in  Paris. 

ACT  I. 

Linda  is  the  daughter  of  Antonio  and  Maddalena, 
who  are  much  disturbed  at  the  prospect  of  being  de- 
prived of  their  farm.  But  Antonio  tells  his  wife  that 
the  Intendant  has  just  informed  him  that  the  Marquis 
has  directed  that  a  new  lease  shall  be  made  out.  The 
Marquis  arrives  apparently  to  confirm  this,  but  really 
to  see  Linda,  on  whom  he  has  designs  of  his  own.  The 
Marquis  departs  without  gratifying  his  wish  and  Linch 
enters.  She  is  here  to  meet  Charles,  whom  she  loves 
and  believes  to  be  an  artist,  but  who  is  really  the  Vis- 
count de  Sirval.  When  he  arrives  he  pledges  his  love 
to  Linda,  but  tells  her  that  there  are  reasons  why  he 
cannot  yet  marry  her.  After  they  go  the  Prefect 
comes  in  with  Antonio  and  informs  him  the  lease  is 
but  a  subterfuge  of  the  Marquis  to  get  possession  of 
Linda  and  ruin  her.  He  advises  the  despairing  father 
to  send  her  away  to  Paris  at  once  to  a  brother  of  his. 
She  can  go  with  the  band  of  Savoyard  boys  now  form- 
ing. Antonio  confides  Linda  to  her  faithful  young  friend, 
Pierrotto,  and  the  curtain  falls  on  the  departure. 

ACT  II. 

Linda  is  installed  in  handsome  rooms  in  Paris  by  the 

32 


Viscount,  who  discovered  her  singing  in  the  streets, 
owing  to  the  death  of  the  Prefect's  brother,  to  whom 
she  was  sent.  Pierrotto  had  also  disappeared,  but  she 
discovers  him  from  her  window  and,  as  the  act  opens, 
she  calls  him  in  and  tells  him  of  her  coming  marriage 
to  the  Viscount.  This  is  followed  by  a  visit  from  the 
Marquis,  who  has  discovered  her  abode  and  who  still 
pursues  her  with  his  obnoxious  attentions  and  who 
offers  her  a  palace  and  wealth  if  she  will  but  go  to 
him.  He  laughs  at  the  idea  that  the  Viscount  intends 
to  marry  Linda.  She  at  last  in  great  indignation  or- 
ders him  out.  He  is  no  sooner  gone  than  the  Viscount 
enters.  He  comes  to  tell  Linda  that  his  mother,  the 
Marchioness,  insists  on  his  marrying  one  of  his  own 
station,  an  odious  marriage  to  him,  but  as  Linda  greets 
him  fondly  he  has  not  the  heart  to  tell  her  and  leaves 
her  still  vowing  his  love.  Immediately  after  a  poor 
man  comes  to  ask  help  of  the  Viscount.  In  him  Linda 
is  amazed  to  recognize  her  father  and  gives  him  money. 
But  as  soon  as  Antonio  recognizes  Linda  he  jumps 
very  naturally  to  the  conclusion  that  this  money  and 
her  style  of  living  mean  a  life  of  shame,  and  proceeds 
to  berate  her  and  would  curse  her  as  well  but  that  Pier- 
rotto interferes  and  saves  her.  But  the  ordeal  has  cost 
her  her  reason  and  Pierrotto  induces  her  to  follow  him 
away  from  all  this  trouble. 

ACT  III. 

The  Savoyards  are  returning  and  the  Prefect  meets 
the  Viscount,  who  comes  looking  for  Linda.  The  Pre- 
fect tells  him  that  her  father  had  disowned  her  by  rea- 
son of  her  shameless  life.  The  Viscount  answers  him  that 
no  purer  woman  lives  and  that  his  mother  has  at  length 
consented  that  he  shall  marry  her.  They  depart  to  get 
some  tidings  when   Pierrotto  is  seen  descending  the 

33 


hill,    leading    Linda.      The    Viscount    returns    and    ex- 
plains  to  Antonio  that  he  had  acted  an  honorable  part, 
hands  him  the  deeds  of  the  land  and  then,  by  endearing 
words,   succeeds   in   restoring  her   scattered    senses   and 
gains  her  glad  promise  to  be  his  wife. 


This  work  was  produced  by  the  composer  at  the  Imperial 
Opera  House,  Vienna,  in  1842.  Its  success  was  so  great  that 
Donizetti  was  appointed  Court  Composer  in  consequence. 


34 


Lucia  dl  Lammermoor 

Adapted  from  Walter  Scotfs  Novel. 
Music  by    Donizetti. 

PERSONAGES. 
Henry  Ashton,  of  Lammermoor.     Lord  Arthur  Bucklavv. 
Edgar,  of  Ravens  wood.  Lucy. 

Norman,  Soldier.  Alice,  her  attendant. 

Raymond,  Chaplain. 

ACT   I. 

Lucy  of  Lammer- 
moor has  refused  to 
accept  Lord  Arthur  as 
her  suitor  in  spite 
of  the  urging  of  her 
brother,  Henry  Ashton, 
who  hopes  by  this 
union '  to  rehabilitate 
himself  with  the  party 
loyal  to  the  reigning 
king.  In  the  opening 
scene  Norman  tells 
Ashton  that  Lucy  loves 
Edgar  of  Ravenswood, 
an  outlaw,  and  Ashton's  worst  enemy.  The  latter,  infuri- 
ated, orders  Norman  and  his  men  to  pursue  Edgar  and  use 
every  effort  to  capture  him,  and  on  their  departure  the 
curtain  falls. 

In  the  second  scene  of  this  act  Lucy  makes  her  en- 
trance in  a  forest  glade  accompanied  by  Alice.  She 
awaits  Edgar  and  fears  that  his  absence  presages  some 
evil.  She  laments  her  solitude  and  the  spectral  sur- 
roundings as  Edgar  comes  only  to  tell  her  that  on  the 
morrow  he  must  depart  on  an  important  mission  to. 

35 


TETRAZZINl. 


France.  Before  going  he  will  see  Ashton  and  ask  for 
Lucy's  hand.  Lucy  implores  him  to  take  no  such  step, 
as  Ashton's  hatred  is  such  that  he  would  but  sacrifice 
his  life  by  going  to  his  stronghold.  Enough  that  he 
has  her  love  which,  for  the  present,  must  remain  secret. 
Edgar  consents  on  the  condition  that  she  vow  to  him 
eternal  love  and  that  nothing  shall  ever  part  them. 
They  then  make  solemn  vows  to  love  one  another  al- 
ways, and  while  Edgar  is  away  to  write  often.  Edgar 
places  a  ring  on  Lucy's  finger  as  a  remembrance  and  a 
pledge,  and  they  part  in  a  transport  of  passion. 

ACT  II. 

The  first  scene  shows  Ashton  planning  the  marriage 
of  Lucy  to  Lord  Arthur.  The  wedding  guests  are  as- 
sembled, though  Lucy  has  not  given  her  consent.  Ash- 
ton and  Norman  have  in  the  meantime  intercepted 
Edgar's  letters,  so  that  she  believes  herself  forgotten. 
Lucy  enters  in  despair,  and  Ashton  tells  her  the  time 
has  come  when  she  must  marry.  Lucy  says  she  loves 
another,  and  Ashton  hands  her  a  forged  letter  purport- 
ing to  come  from  Edgar,  in  which  the  latter  repudiates 
his  promises.  While  Lucy,  heartbroken  at  this  turn 
of  fortune,  wishes  to  die,  Ashton  urges  her  to  marry 
Lord  Arthur,  adding  that  if  she  refuses  their  family 
will  be  ruined  and  he  die  on  the  scaffold.  Arthur's 
great  influence  alone  can  save  him.  Lucy  still  attempts 
to  resist,  but  her  brother's  dominant  influence  prevails, 
especially  when  Raymond,  the  Chaplain,  adds  his 
prayers  and  advice  to  Ashton's. 

The  next  scene  shows  the  great  hall  of  the  Castle. 
All  the  guests  are  here  and  Ashton  introduces  Arthur 
to  them.  Then  enters  Lucy  in  a  state  of  great  dejec- 
tion. Ashton  begs  her  not  to  quail  at  the  ordeal  and 
prevails  on  her  to  passively  sign  the  hated  contract. 
At  this  moment  Edgar  appears,  to  the  consternation  of 

36 


all,  and  especially  Lucy.  He  demands  his  promised 
wife,  and  Ashton  shows  him  the  marriage  contract 
signed  by  Lucy  and  causes  her  to  say  it  is  true.  Edgar 
turns  on  her  and  loads  her  with  reproaches.  She  begs 
for  mercy,  but  he  defies  them  all,  and  the  act  ends  in 
his  violent  departure. 

ACT  III. 

The  guests  are  still  celebrating  the  nuptials  of  Lucy 
and  Lord  Arthur  when  Raymond  enters  to  tell  them  to 
cease.  A  terrible  event  has  occurred.  He  had  heard  a 
shriek  from  the  nuptial  room  when,  forcing  his  way 
within,  he  had  found  the  bridegroom  bathed  in  blood 
and  Lucy  brandishing  a  sword  over  him  and  laughing 
dreadfully.  As  he  speaks  Lucy  enters,  and  what  is 
known  as  the  Mad  Scene  ensues.  Lucy,  alternately 
laughing  and  weeping,  sings  of  her  lost  Edgar,  while 
the  guests  look  on  sympathizing,  but  helpless. 

In  some  performances  the  opera  ends  here,  but 
whenever  a  tenor  of  prominence  sings  Edgar  the  last 
scene  is  given.  Edgar  is  alone  in  a  cemetery  bewailing 
his  fate  and  speaking  of  death.  The  toll  of  a  bell  is 
heard,  when  Raymond  comes  in  to  say  that  it  signifies 
the  passing  of  Lucy's  soul.  Overwrought  by  this  final 
blow,  Edgar  draws  his  sword  and  dies  by  his  own 
hand. 


Lucia  easily  takes  precedence  of  any  of  Donizetti's  operas 
in  public  esteem,  though  three  others  remain  in  the  repertoire. 
It  was  first  brought  out  at  the  San  Carlo  in  Naples  in  1835,  and 
obtained  an  instant  success,  which  it  has  maintained  ever  since, 
hackneyed  though  it  may  be.  Its  melodies  have  withstood  all 
changes  of  taste. 


37 


Andrea  Chenier 

Historic  Drama  in  Four  Scenes. 

Book  by  Luigi  Mica. 

Music  by  Umberto  Giordano. 

THE  CAST. 

Andrea  Chenier.  Madeleine  de  Coigny. 

Charles  Gerard.  The  mulatto,  Bersi. 

Roucher.  Countess  de  Coigny. 

Fleville.  Madelon. 

Fouquier-Tinville.  The  Abbe. 

The  sans  culotte  Matthieu.  Schmidt. 

A  Dandy.  Dumas. 

ACT   I. 

At  the  chateau  of  the  Coignys.  The  Countess  causes 
preparations  to  be  made  for  a  host  of  visitors.  Gerard,  a 
servant,  curses  the  aristocrats  and  predicts  that  their  fate 
is  near.  He  points  to  his  decrepit  old  father,  the  garde- 
ner, as  an  example  of  serfdom.  The  Countess  Madeleine 
and  Bersi  enter,  and  soon  after  the  guests,  among  them 
Fleville,  the  romancer,  Chenier,  the  poet,  and  the  abbe. 
Conversation  ensues  about  the  general  unrest  among  the 
people,  but  they  treat  it  lightly.  Madeleine,  in  a  spirit  of 
banter,  wants  Chenier  to  poetize  off-hand  and  he  excuses 
himself,  but  she  persists  and  wagers  if  he  does  improvise 
it  will  be  of  love.  Chenier  replies  that  it  is  not  a  word 
to  joke  about,,  for  the  word  includes  love  of  country  and 
love  for  the  poor,  the  oppressed  and  the  afflicted.  These 
revolutionary  sentiments  scandalize  the  distinguished  com- 
pany and  impress  Madeleine,  who  now  takes  a  more 
serious  interest  in  Chenier.  Gerard  introduces  a  crowd 
of  poor  people.  The  Countess  is  furious.  Gerard  takes 
off  his  livery  and  leaves  the  chateau.  Dancing  now 
begins. 

ACT  II. 

The   Place  de  la   Revolution.      In   the   foreground   an 
altar  erected  to  Marat.     The  Terror  is  now  in  full  blast. 

38 


Matthieu,  the  former  gardener,  and  a  dandy,  who  is  a  spy 
of  Robespierre's,  are  here,  and  Bersi,  the  mulatto  woman, 
comes  furtively  to  ask  for  news  and  pretends  a  reckless 
abandon.  The  cart  of  the  guillotine  is  seen  to  pass. 
Chenier,  already  on  the  list  of  suspects  and  watched  by 
the  dandy,  comes  on  with  his  friend  Roucher,  who  advises 
him  to  fly  at  once.  But  Chenier  has  received  a  note  in  a 
female  hand,  making  an  appointment  here.  Roucher  tells 
him  to  pay  no  attention  to  it,  probably  from  some  woman 
of  the  town.  But  Chenier  is  firm  until,  at  last  convinced, 
he  tears  up  the  letter  and  takes  the  passport.  Gerard 
enters.  He  has  told  the  spy  to  seek  for  a  certain  fair, 
blue-eyed  girl.  He  seeks  Madeleine,  whom  he  loves  and 
of  whom  he  has  lost  trace.  A  crowd  of  women  invades 
the  .scene,  among  them  Bersi,  who  tells  Chenier  that  a 
woman  whom  a  great  peril  threatens  would  meet  him  and, 
after  some  changes  of  guard  take  place,  Madeleine  comes 
on  and  they  meet.  The  spy  runs  to  tell  Gerard.  The 
girl  informs  Chenier  of  her  perils  and  poverty.  She 
hasn't  any  one  to  rely  on  except  Bersi,  and  therefore  she 
comes  to  him.  Chenier  tells  her  she  may  well  count  on 
him,  for  he  loves  her.  She,  too,  has  found  in  him  what 
love  is,  and  both  vow  that  until  death  they  will  be  to- 
gether. They  are  interrupted  by  Gerard,  who  rushes  in 
to  claim  Madeleine.  Chenier  brushes  him  aside  and  con- 
fides her  to  Roucher,  and  then  they  fight.  Gerard  falls 
wounded,  but  advises  Chenier  to  fly,  for  he  is  on  the  list 
of  the  accused.  Nor  will  he  tell  Matthieu  and  others 
who  has  wounded  him.    They  want  a  victim. 

ACT  III. 

The  scene  is  the  Revolutionary  Tribunal.  Matthieu 
asks  for  private  contributions  to  the  country's  needs. 
Gerard  comes  in  and  is  more  successful.  The  women 
even  give  their  jewels.  An  old  woman  gives  her  last 
grandson  to  the  cause.    Gerard  then  begins  to  write  out 

39 


the  accusations.  Newsboys  are  heard  shouting  the  ar- 
rest of  Andrea  Chenier.  The  spy  tells  Gerard  that  the 
girl  will  soon  turn  up,  now  the  man  is  caught.  He 
urges  Gerard  to  hasten  the  accusation  against  Chenier. 
Gerard  hesitates  a  long  time,  but  finally  signs  it  and 
gives  it  to  the  clerk.  Madeleine  suddenly  comes  and 
Gerard  shows  a  savage  satisfaction  and  tells  her  that 
he  has  loved  her  long  and  now  will  possess  her.  She 
answers  that  she  will  go  out  and  unmask  him  before 
all.  He  prevents  it,  and  then  she  tells  him  that  if  she 
is  to  be  the  price  of  Chenier's  liberty,  then  take  her, 
she  loves  him  enough  even  for  that.  This  causes  a 
revulsion  in  Gerard  and  he  regrets  having  denounced 
Chenier.  The  crowd  now  rushes  in  and  the  prosecutor, 
Fouquier-Tinville,  and  the  Judge,  Dumas,  take  their 
places.  Gerard  wants  to  withdraw  his  charges  against 
Chenier,  but  the  mob  howls  and  the  prosecutor  fathers 
them  himself.  Chenier,  in  his  defense,  makes  a  moving 
plea,  and  Gerard  speaks  strongly  for  him,  but  the  mob 
demands  blood  and  he  is  condemned.  Madeleine  utters 
an  agonizing  cry  as  Death  is  pronounced. 

ACT  IV. 

The  courtyard  of  the  St.  Lazare  prison.  Roucher  is 
with  Chenier  and  gives  Schmidt,  the  jailer,  money  to 
stay  longer.  Chenier  says  he  has  no  fear  of  death,  and 
goes  to  his  cell.  Gerard  brings  in  Madeleine,  who 
bribes  Schmidt  to  substitute  her  for  one  of  the  con- 
demned women,  a  mother,  to  whom  she  sends  her  pass. 
Gerard,  as  he  hears  Chenier  coming  in  again,  leaves, 
saying  he  will  go  and  plead  to  Robespierre.  The  lovers 
are  alone  and  happy.  Madeleine  tells  Chenier  what 
she  has  done ;  she  wants  to  die  with  him.  He  cannot 
change  her,  and,  both  of  them  vowing  undying  love, 
answer  "Ready  !"  when  the  names  are  called  by  the 
executioner. 

40 


Siberia 

Grand  Opera  in  Three  Acts. 

Book  by  Luigi  Illica. 
Music  by  Umberto  Giordano. 

THE  CAST. 

Vassily.  Ivan. 

Gleby.  The  Banker  Miskinsky. 

Walitzin.  Stephana. 

Alexis.  Nikona. 

ACT  I. 

In  the  apartments  of  Stephana  at  St.  Petersburg,  Ivan 
and  Nikona  await  at  break  of  day  the  return  of  Stephana. 
Gleby  comes  to  see  Stephana.  They  conceal  from  him 
that  she  is  out.  But  he  pushes  his  way  into  her  room  and 
is  greatly  excited  to  find  her  not  there  when  Prince  Alexis 
enters  with  his  friends.  Gleby  tells  him  that  Stephana 
still  sleeps.  They  start  a  serenade  in  her  honor,  and  then 
go  to  another  room  to  await  her.  Stephana  at  this  mo- 
ment slips  in  through  the  garden  gate.  Gleby  wants  to 
know  why  she  is  not  furthering  their  projects.  She  an- 
swers that  it  is  because  she  is  sick  of  it  all,  because  at 
last  she  is  truly  in  love.  Alexis  returns  and  tells  Stephana 
of  his  love  and  returns  to  his  friends  after  presenting  her 
with  a  bracelet.  Ivan  then  announces  a  young  officer, 
Vassili,  and  Nikona  recognizes  in  him  one  she  loved  as  a 
son.  He  tells  her  that  he  goes  to  the  war  this  day  and 
comes  to  say  good-bye.  As  he  is  going  Stephana  enters 
and  Vassili  sees  in  her  the  woman  he  loves  and  whom  he 
supposed  a  poor  girl.  Stephana  is  also  astounded  at  his 
presence  here.  She  thinks  he  has  followed  her,  but 
Nikona  reassures  her.  Then  she  tells  Vassili  'twere  bet- 
ter for  him  to  go,  for  honor,  for  glory's  sake.  But  Vassili 
tells  her  his  love  is  stronger  than  all.  Just  then  Alexis 
enters  and  insults  Stephana.     Vassili  resents  it.     Alexis 

4i 


draws  his  sword,  attacks  Vassili,  the  latter  defends  him- 
self, and  in  doing  so  pierces  Alexis,  who  falls. 

ACT  II. 

At  the   Poloo   station   on    Starvation   Steppe,   a   mere 
guard  house  in  a  desolate  country.     The  soldiers  await 
the  arrival  of  a  column  of  prisoners.    Peddlers  and  peas- 
ants come  in  to  sell  their  wares.     A  girl  with  her  baby 
brother  comes  to  meet  her  father,  a  prisoner.    Then  a  low 
wailing  song  is  heard  in  the  distance.     There  is  imme- 
diate movement  in   the    Poloo-tappa.     Officers   and   sol- 
diers busy  themselves.    The  lament  and  song  come  nearer 
and  the  "Chain"  arrive.     Crushed  with  fatigue  the  pris- 
oners throw  themselves  on  the  ground.     The  sound  of  a 
troika  is  heard  and  Stephana  steps  from  it.    She  asl*s  for 
prisoner   107  and  shows  a  pass.     She  calls   for  Vassili. 
and   he   rises   from   the   huddle   of  prisoners.      Stephana 
tells  him  she  has  given  all  her  ill-got  riches  to  the  poor 
and  has  come  to  join  him.     He  would  dissuade  her  from 
the  horrible  life,  but  she  is  firm.     Love  redeems  all,  she 
(Ties.     The  order  is  given  to  move  and  the  living  Chain 
forms  once  more,  taking  up  the  wailing  song.  Vassili  and 
Stephana  silently  join  the  procession. 

ACT  III. 

The  Trans-Baikal  mines.  Interior  of  the  prison.  It  is 
Holy  Saturday.  A  cripple  wants  some  old  clothes  to 
make  a  flag  with.  He  is  told  to  go  to  107.  He  makes  the 
request  there,  and  Stephana  brings  out  a  basket  of  old 
clothes.  While  going  through  it  the  cripple  asks  Stephana 
if  she  wishes  to  escape  that  night  by  the  dry  well. 
Stephana  and  Vassili  debate  the  project.  In  a  group  of 
convicts  comes  forth  Gleby.  He  recognizes  Stephana, 
who  goes  to  draw  water,  while  Vassili  is  harnessed  to  98 
and  leaves  for  work.  As  Stephana  returns  Walitzen,  the 
Governor,  an  old  friend,  speaks  to  her  and  tells  her  if 
she  still  has  dreams  of  liberty  and  comfort  to  remember 

42 


him.  All  her  life  is  here,  she  answers,  and  her  love. 
Gleby  returns  with  Vassili  and  asks  Stephana  to  give  him 
an  Easter  dinner.  They  treat  him  with  contempt  and 
Gleby  sardonically  tells  Vassili  and  the  convicts  the  story 
of  Stephana's  life.  Vassili  is  horrified  and  torn  with 
shame  and  despair,  but  Stephana  at  first  angry  and  then 
pitiful  justifies  herself.  Gleby  was  the  man  who  sold 
her  and  reaped  the  gold.  As  Gleby  returnes  she  shows 
the  executioner's  mark  on  him.  But  this  decides 
Stephana  to  escape,  and  they  concert  plans  with  the  crip- 
ple. Unfortunately  Gleby  has  got  wind  of  the  project 
and  takes  care  to  inform  the  sentinel  on  guard.  As  they 
run  for  the  dry  well,  therefore,  a  volley  of  musketry  is 
heard,  and  soon  after  Stephana  is  brought  in  wounded. 
Walitzin  endeavors  to  save  her,  but  to  no  purpose,  and 
with  words  of  loving  tenderness  she  dies  in  Vassili's  arms. 


The  third  of  Giordano's  serious  operas,  the  other  two  having 
been  Andrea  Chenier  and  Fedora.  Giordano  came  into  notice  as 
a  competitor  for  the  Sonzoni  prize,  which  produced  Cavalleria 
Rusticana,  with  an  opera  called  Marina  which  possessed  only  fair 
merit. 


43 


Faust 


Grand  Opera  in    Five  Acts. 

Book  by  Barbier  and  Carre,  from  Goethe's  Poem 

Music  by  Charles  Gounod. 

THE  CAST. 

Marguerite. 

Siebel. 

Martha. 


Faust. 

Mephistopheles. 
Valentin. 
Brander, 


ACT    I 


Faust,  an  old  man, 
alone  in  his  study, 
speaks  despairingly  of 
life  and  knowledge. 
Heaven  will  give  him 
nothing  but  death — the 
devil,  perhaps,  will  give 
him  life.  He  calls,  Me- 
phistopheles appears, 
and  offers  Faust  riches, 
power,  a  kingdom. 
Faust  wants  none  of 
these,  but  youth  only. 
Faust  signs  the  bond 
and  is  transformed  into 
a  young  man.  A  vision 
of  Marguerite  is  seen 
and  Faust  goes  in 
search  of  her,  accom- 
ARIMONDL  panied  by  Mephisto. 

ACT  II. 

The  scene  changes  to  the  Kermesse.    Students,  sol- 

44 


diers  and  citizens  are  about.  Valentin  is  going  to  the 
war,  but  dislikes  leaving  his  sister,  Marguerite.  Siebel, 
a  boy,  promises  to  be  always  near  her  to  protect  her. 
Mephisto  enters  and  offends  Valentin  by  speaking 
lightly  of  Marguerite.  He  then  proves  his  sorcery  by 
drawing  wine  from  an  empty  cask.  All  then  show  the 
crosses  on  their  swords,  and  Mephisto  is  discomfited. 
Faust  enters  and  meets  Marguerite  in  the  market  place, 
but  she  rejects  his  advances.  He  is  cast  down,  but 
Mephisto  promises  him  better  luck  next  time. 

ACT  III. 

Siebel  comes  to  leave  flowers  on  Marguerite's  door- 
step and  exits  as  Faust  comes  into  the  garden.  Me- 
phisto urges  him  to  make  hot  love  and  not  to  be  faint 
hearted,  and  he  himself  goes  to  get  the  jewel  casket, 
which  he  presently  places  beside  Siebel's  flowers.  Both 
then  retire,  and  Marguerite  comes  in  bewailing  her 
brother's  absence.  Then  she  wonders  who  was  the 
handsome  lord  she  met  in  the  market-place.  She  sees 
the  casket,  opens  it  and  the  beauty  of  the  gems  capti- 
vates her  fancy.  She  will  not  keep  them  though. 
Martha,  her  companion,  tells  her  she  is  foolish,  and 
Mephisto  approves  the  sentiment,  while  praising  Mar- 
tha's buxom  charms.  He  thus  gets  her  out  of  the  way 
to  leave  a  fair  field  for  Faust,  who  soon  conquers  the 
girl's  heart,  so  that  at  the  end  of  the  act  in  a  burst  of 
passion  she  confesses  herself  his. 

ACT   IV. 

The  victorious  soldiers  are  back  from  the  war,  and 
Valentin  is  full  of  joy  at  seeing  his  sister  again.  But 
he  soon  learns  of  her  betrayal.  In  front  of  his  house 
Mephisto  sings  a  satirical  serenade  that  brings  Val- 
entin out  in  a  fury.  Mephisto  urges  him  on  until  Faust 
and  he  are  fighting,  and,  with  Mephisto's  treacherous 

45 


help,  Faust  delivers  a  death  blow,  The  two  escape  as 
Valentin  falls.  The  people  troop  on  and  Marguerite 
rushes  to  her  brothers  side.  He  curses  her  with  his 
dying  breath. 

The  second  scene  of  this  act  shows  Marguerite  at  the 
Cathedral  trying  to  pray.  The  voice  of  Mephisto  tells 
her  that  she  is  irrevocably  lost.  She  is  bowed  in  de- 
spair. 

ACT   V. 

The  prison.  Marguerite  sleeps  in  the  straw.  She,  in 
a  fit  of  madness,  has  slain  her  child.  Faust  enters  to 
get  her  away  secretly,  and  as  she  awakes  she  is  at  first 
overjoyed  at  meeting  him.  But  the  sight  of  Mephisto 
fills  her  with  dread  and  repulsion.  She  refuses  to  fly. 
Faust  urges  and  almost  carries  her  away.  But  she 
resists  him  and  prays  to  heaven  for  deliverance  from 
earthly  trouble.  In  vain  does  Faust  urge  that  it  will 
soon  be  too  late.  Mephisto  advises  flight  without  her, 
but  Faust  is  loyal  to  his  stricken  one  and  will  not  leave 
her.  In  the  midst  of  the  struggle,  in  a  burst  of  exalta- 
tion, she  dies,  and  angels  come  down  to  take  her  to 
heaven. 


Faust  is,  of  course,  recognized  as  Gounod's  greatest  achieve- 
ment in  opera  work.  It  has  obtained  world-wide  and  lasting 
popularity.  Originally  produced  in  1859,  as  an  opera  comique, 
at  the  Theatre  Lyrique  (a  subventioned  house),  in  Paris,  it  met 
with  only  moderate  success.  Mr.  Gye,  manager  of  Covent  Gar- 
den, London,  commissioned  Gounod  to  turn  it  into  a  grand  opera, 
which  he  did  by  making  recitatives  of  the  spoken  dialogue  and 
adding  several  melodies  to  the  score.  From  that  time  the  opera 
became  a  triumph.  Madame  Miolan  Carvalho,  wife  of  the 
Lyrique's  manager,  was  the  original  Marguerite  and  M.  Balanquet 
the  first  Mephistopheles. 


46 


/  Pagliacci 

(The  Clowns.) 

Opera  Drama  in  Two  Acts. 
Words  and  Music  by  R.  Leoncavallo. 


PERSONAGES, 

Nedda. 

Beppe. 

Canio 

Silvio. 

Tonic, 

in 
get 


ACT    I. 

The  scene  is  in  a  Ca- 
labrian  village.  On  the 
right,  a  traveling  thea- 
tre, curtains  drawn.  Ca- 
nio and  Nedda  traverse 
the  crowd  of  villagers 
a  donkey  cart  and 
out.  Canio  tells 
them  about  the  fine 
play  they'll  see.  Then 
he  goes  off  to  the  vil- 
lage inn  leaving  Nedda, 
his  wife,  alone.  The 
church  bells  call  to 
worship,  and  the  people 
troop  off.  Tonio,  a  de- 
formed member  of  the 
troupe,  approaches 
Nedda  and  tells  her 
that  despite  his  shape  his  heart  beats  wildly  for  her. 
She  bursts  out  laughing,  and  when  he  persists  and 
wants  to  kiss  her  she  seizes  a  whip  and  slashes  him 
across  the  face    Enraged  he  goes  off  vowing  vengeance 

47 


SAMMARCO 


Then  Silvio,  a  villager,  appears,  and  despite  Nedda' s 
protest  that  it  is  imprudent  to  be  here,  tells  her  of  his 
love  and  urges  her  to  go  away  with  him.  At  first  she 
refuses,  though  she  acknowledges  her  love  also,  and 
Tonio,  who  has  come  on  from  the  rear,  overhears  them 
and  rushes  away.  Silvio  goes  on  pressing  his  suit,  and 
at  last  gets  a  promise  from  her  to  escape  with  him  that 
night.  As  they  seal  the  bargain  with  a  kiss  Canio  sud- 
denly comes  on,  led  by  Tonio,  and  hears  the  engage- 
ment made.  Canio  makes  a  rush  after  Silvio,  who  is 
warned  by  a  quick  cry  from  Nedda.  Tonio  laughs  at 
Nedda's  plight.  He  makes  her  sick  with  horror  by  his 
gibes.  Canio  returns,  having  failed  to  catch  Silvio. 
He  turns  his  wrath  on  Nedda,  whom,  in  a  frenzy,  he 
tries  to  kill,  but  Beppe  runs  to  Canio  and  snatches  the 
dagger  from  him  while  Tonio  holds  him.  Then  Beppe 
leads  Nedda  within  while  Canio  breaks  dowft  in  a  par- 
oxysm of  grief. 

ACT   II. 

The  same  scene  as  Act  I.  Tonio  beats  the  drum  on 
side  of  theatre,  and  the  people  troop  in  to  see  the  show. 
There  is  much  confusion  in  selecting  seats,  and  some 
disputing.  Silvio  enters  and  takes  his  place,  and  back 
in  the  audience  when  Nedda  comes  around  collecting 
money,  he  reminds  her  not  to  fail  in  the  appointment 
for  that  night.  She  cautions  him  to  beware.  The  play 
then  begins.  Nedda,  as  Columbine,  has  sent  away  her 
husband,  the  Clown  (Canio),  in  the  hope  of  meeting 
the  Harlequin  (Beppe)  alone,  but  the  Pantaloon 
(Tonio)  comes  instead  and  makes  foolish  love  to  Col- 
umbine. He  brings  a  chicken  as  a  peace  offering.  She 
takes  the  chicken,  but  sends  Pantaloon  about  his  busi- 
ness as  soon  as  she  hears  the  voice  of  Harlequin,  who 
climbs  in  through  a  window.  The  two  sit  down  to  sup- 
per and  act  a  love  scene,  when  Pantaloon  rushes  in  to 

48 


say  that  Clown  is  returning  unexpectedly.  Harlequin 
promptly  jumps  out  of  the  window  and  Columbine  bids 
him  a  fond  farewell  just  as  Clown  comes  on  and  de- 
mands to  know  who  has  been  there.  Columbine  pre- 
tends innocence.  Canio  forgets  the  play  and  loads  her 
with  reproaches,  but  Nedda  -tries  to  continue  to  per- 
form her  part.  The  spectators  are  puzzled  and  cease 
to  laugh.  The  women  exclaim  that  he  is  making  them 
cry  when  he  speaks  of  his  wrongs  and  upbraids  her  as 
an  abandoned  creature  whom  he'll  crush  under  his  heel. 
He  demands  to  know  the  name  of  her  lover.  Nedda 
•>avs  she  may  be  faithless  but  cowardly  never.  Canio 
snatches  a  knife  from  the  table  and  in  a  towering  rage 
s  izes  her  and  stabs  her.  Amid  the  confused  cries  Sil- 
vio draws  his  dagger  and  rushes  forward  just  as  the 
dying  Xedda  calls  out  his  name  for  help.  Suddenly  en 
lightened  Canio  plunges  his  knife  in  Silvio's  breast.  He 
is  immediately  surrounded  and  held.  He  stands  stupe 
fied  and  quietly  says  "The  comedy  is  ended!" 


The  only  opera  by  which  Leoncavallo  is  known  here,  and  un- 
doubtedly his  best  example.  The  composer  also  wrote  the  librett<  . 
and  it  is  interesting  to  know  that  the  story  is  based  on  fac  < 
within  the  purview  of  the  author,  the  tragedy  taking  place  in  his 
own  village,  a  servant  of  his  father's  being  the  unfortunate  lover, 
Silvio,  of  the  play.  Canio  was  imprisoned  for  a  time  for  his 
double,  but  partly  justifiable,  crime  and  was  then  set  free.  I 
Pagliacci  was  produced  for  the  first  time  at  the  Dal  Verme,  Milan, 
in  t8q2.     Its  success  was  immediate. 


49 


Cavalleria  Rusticana 

Melodrama  in  One  Act. 

Libretto  by  G.  T ar geoni-T ozzetti  and  G.  Menasci. 

Mtcsic  by  Pietro  Mascagni. 


THE   CAST. 

Santuzza. 

TURIDDU 

Lola. 

Alfio. 

Lucia, 

Turiddu,  behind  the  curtain,  sings  of  Lola's  loveli- 
ness.     Then    the    peasants    and    townspeople    fill    the 
scene.    Santuzza  enters  furtively  and  asks  Lucia  where 
her  son   Turiddu   is.     Lucia   answers   curtly  that   she 
wants  no  trouble.      Santuzza  tells  her  that  though  sup- 
posedly awray,  he  has  been  seen  near  the  village.    Alfio 
enters  merrily  singing  of  his  horses.     When  he  wants 
wine  Lucia  informs  him  that  Turiddu  has  gone  away  to 
fetch  it,  at  which  he  expresses  surprise,  as  he  had  seen 
him  near  his  (Alfio's)  house.  ■  Santuzza  makes  signs  to 
Lucia  and  when  Alfio  goes  Lucia  wants  to  know  why. 
Santuzza  then  tells  her  that  before  Turiddu  had  gone 
to  become  a  soldier  he  had  pledged  his  love  to  Lola,  but 
when  he  returned  he  had  found  her  married  to  Alfio. 
His  heart  had  then  gone  to  her — Santuzza — and  she 
had  loved  him  in  return,  seeing  which  Lola  had  exerted 
every  art  of  coquetry  to  win  him  back.     Lucia  goes  to 
pray  that  no  evil  may  come  of  it.    Turiddu  enters  and 
is  scornful  of  Santuzza,  who  pleads  with  him  for  a  re- 
turn of  his  love.     He  denies  that  he  cares  for  Lola, 
though  he  is  furious  at  Santuzza's  senseless  jealousy. 
Lola's  voice  is  heard,  and  when  she  enters  she  plays 
with  Turiddu,  but  sends  several  venomous  shafts  at 
Santuzza,  who  succeeds  in  restraining  him  when  he 
would  follow  Lola.     But  when  the  latter  goes  into  the 
church  Turiddu  turns  on  Santuzza  furiously  andr  while 

So 


she  pleads  to  him  for  his  lost  love  and  her  lost  honor, 
throws  her  roughly  down  and  follows  Lola  into  the 
church.  Alfio  comes  on,  and  Santuzza,  in  her  rage, 
tells  him  of  his  wife  and  Turiddu.  Alfio  is  amazed  and 
then  doubts.  Santuzza  swears  she  speaks  the  truth. 
Alfio  vows  he'll  have  their  blood. 

Intermezzo. 

All  leave  the  church.  Turiddu  asks  Lola  to  join  his 
company  in  a  merry  goblet,  and  they  are  drinking 
when  Alfio  enters.  He  refuses  Turiddu's  invitation. 
Lola  gets  away  as  Alfio  and  Turiddu  challenge  each 
other.  While  embracing,  Turiddu  bites  Alfio' s  ear — it 
is  to  the  death.  As  Turiddu  goes  he  asks  his  mother's 
blessing  and  utters  a  word  of  remorse  about  Santuzza, 
then  rushes  out. 

In  a  moment  the  crowd  rushes  back  crying  that  Tu- 
riddu has  been  killed. 


Cavalleria  Rusticana  made  a  genuine  sensation  when  it  was 
first  produced  in  1890  at  the  Constanza  in  Rome  and  became  in 
immediate  demand  in  every  part  of  the  musical  world.  The 
opera  was  the  result  of  a  competition  instituted  by  Sonsogno,  the 
Milan  publishing  house,  and  gained  the  first  prize  of  five  thousand 
francs.  It  made  the  name  of  Mascagni  famous,  a  fame  the 
composer  has  since  done  little  to  enhance,  though  he  has  written 
much.  Cavalleria  Rusticana  was  first  produced  in  New  York 
a  few  weeks  after  its  premiere  in  Italy,  by  Oscar  Hammerstein 
at  the  Murray  Hill  Lyceum  and  by  Rudolph  Aronson  at  the 
Casino,  both  on  the  same  day. 


5* 


Griselidis 


Lyric    Story    from    a    Mystery    Play    at    the    Comedie 

Francaise. 

By  Armand  S  lives  tre  and  Eugene  M  or  and. 

Music  by  Jules  Massenet. 

THE  CAST. 

The  Marquis  de  Saluces.  Gondeband. 

The  Devil.  Griselidis. 

Alain.  Fiamina. 

The  Prior.  Bertrade. 

PROLOGUE. 

A  forest  in  Provence. 
Alain,  alone,  is  watch- 
ing for  Griselidis,  who 
comes  not,  as  enter  the 
Prior  and  Gondeband 
who,  awaiting  the 
Marquis  on  his  return 
from  the  hunt,  lament 
that  he  has  never  met 
the  woman  he  would 
take  to  wife.  Alain 
tells  them  it  is  that  he 
has  never  seen  Grise- 
lidis, the  most  exquis- 
ite woman  on  all  the 
earth.  The  Marquis 
enters,  his  eyes  fixed 
on  an  image  that  grad- 

uallv  is  seen  to  emerge 
CAMPANINI.  from    the    forest     As 

it    comes    nearer    the 
Marquis  falls  on  his  knees,  as  do  all  his  men,  and  in  a 

52 


transport  of  joy  he  asks  Griselidis  to  become  his  wife. 
Griselidis  simply  answers  that  he  may  dispose  of  his  ser- 
vant. The  Marquis,  handing  her  over  to  the  Prior,  tells 
her  that  on  the  morrow  she  shall  be  brought  to  the  castle. 
Alain,  as  all  depart,  sobs  that  he  has  lost  Griselidis. 

ACT  I. 

The  Oratory  in  the  Castle.  At  rear  a  triptich  with  doors 
closed  concealing  a  figure  of  St.  Agnes,  holding  the  lamb, 
Bertrade  is  spinning  and  singing  a  love  song.  Gonde- 
band  enters  and  tells  her  that  love  songs  have  had  their 
day.  It  is  iron  that  sings  now  to  punish  The  Saracen. 
The  Marquis  comes  in  saying  that  in  an  hour  they  depart. 
He  has  but  one  regret,  to  leave  his  wife  and  son.  The 
Prior  promises  him  that  his  wife  shall  never  leave  the 
castle,  but  the  Marquis  refuses  to  condemn  her  to  such  a 
life.  She  shall  have  her  liberty  and  move  about  as  she 
pleases.  The  Prior  remonstrates  and  says  the  Devil  is 
clever.  The  Marquis  responds  if  the  Devil  were  there  his 
opinion  would  not  change.  As  he  speaks  the  Devil  ap- 
pears. He  tells  them  he  is  at  present  having  a  pleasant 
time  hiding  from  his  wife,  who  is  the  very  devil  herself. 
Their  specialty  is  making  wives  go  wrong.  The  Marquis 
wagers  his  nuptial  ring  that  they  can't  make  his  go  wrong. 
The  Devil  accepts  the  wager  and  is  gone.  The  Marquis, 
alone,  says  that  he  knows  himself  safe  in  his  wife's  love 
and  Griselidis,  coming  in,  satisfied  him  by  renewing  her 
vows.  Thereupon  the  call  to  arms  is  heard.  Loys,  the 
child,  is  brought  in  to  be  blessed  by  his  father.  Griselidis 
gives  her  lord  a  tearful  farewell  and  he  departs. 

ACT  II. 

Outside  the  Chateau.  A  Plantation.  The  Devil  is  alone 
and  sings  of  the  joy  it  is  to  be  away  from  one's  wife,  when 
of  a  sudden  she  turns  up  and  the  two  have  a  row,  but 
make  up  when  the  Devil  tells  Fiamina  that  he  is  here  to 
capture  a  woman's  soul — the  Marquise's.     So  they  lie  in 

53 


wait  for  her  outside.  Griselidis  enters  alone  and  is  soon 
after  followed  by  Loys  as  the  Angelus  is  heard.  Then 
Bertrade  enters  to  say  that  a  stranger  and  a  woman  are 
waiting  her  summons.  The  Devil  and  Fiamina  come  in 
as  Orientals  and  he  tells  Griselidis  that  this  woman  with 
him  was  the  chosen  one  of  the  Marquis  and  it  was  his  de- 
sire that  Griselidis  give  up  everything  to  her.  Griselidis, 
in  sorrow,  asks  by  what  authority,  and  the  Devil  shows 
her  the  wedding  ring  of  the  Marquis,  and  Griselidis,  in 
submission  to  his  desire,  gives  up  hers  to  Fiamina. 
She  will  go  away  with  her  little  son.  The  Devil  now 
resolves  to  send  for  Alain  and  brings  up  spirits  of  evil 
to  precede  him.  Alain  comes,  as  in  a  dream,  and  is 
impelled  by  the  same  force  that  brings  Griselidis. 
They  see  each  other  and  Alain  speaks  of  their  old  days 
of  pleasure  and  Griselidis  listens  joyfully.  Alain  tells 
her  how  it  grew  into  love  and  is  that  now,  but  she  will 
have  none  of  it  and  pleads  to  Heaven  for  strength  to 
resist,  when  Loys  appears  and  she  folds  him  in  her 
arms.  But  as  Alain  rushes  away  she  lets  go  of  Loys 
a  moment  and  the  Devil  seizes  him,  realizing  that  this 
is  the  way  to  her  heart.  Sure  enough  she  goes  wild 
with  fear.  Everything  wakes  up  with  excitement. 
Loys  is  sought  for  everywhere  while  Griselidis  prays 
for  death. 

ACT  III. 

The  scene  of  Act  L  Griselidis  is  alone,  still  bemoan- 
ing the  loss  of  Loys.  She  prays  to  St.  Agnes,  but  when 
she  opens  the  triptich  even  the  image  of  the  Saint  has 
disappeared.  A  man  is  announced  and  under  the  dis- 
guise of  an  old  seaman  the  Devil  comes  in  to  tell  Grise- 
lidis that  her  child  was  stolen  by  one  who  loved  her,  a 
pirate.  He  demands  but  a  kiss  for  his  return — one 
little  kiss,  no  one  will  know  it.  If  not  her  boy  may  be 
hanged.     She  seizes  a  knife  and  agrees  to  go  and  res- 

54 


cue  her  boy  or  die.  As  she  departs  the  Marquis  comes 
in,  all  broken  up.  The  Devil  proceeds  to  fill  him  with 
stories  against  his  wife's  chastity,  persuading  him  to 
kill  her.  But  the  Marquis  sees  his  ring  on  the  Devil's 
ringer  and  knows  the  motive  of  it  all.  He  meets  Grise- 
lidis  returning.  She  swears  to  her  honesty  and  he  to 
his  telling  her  that  he  sent  no  other  woman  to  take 
her  place.  They  both  blame  the  Devil,  who  appears  in  a 
column,  and  before  disappearing  twits  them  with  the 
loss  of  their  child.  Both  then  pray  for  the  return  of 
the  child  and  suddenly  through  the  miracle  of  St. 
Agnes  little  Loys  is  restored  amid  much  clanging  of  bells 
and  chorus  of  heavenly  voices.  The  Devil  promises  to 
become  a  hermit. 


Another  lyric  work  founded  on  an  old  miracle  play  and  first 
produced  at  the  Opera  Comique  in  Paris  on  November  20,  1901, 
with  Mile.  Breval  (remembered  at  the  Metropolitan  here)  in  the 
title  role  and  M.  Dufranne  as  the  Marquis. 


DO 


Le  Jongleur  de  Notre  Dame 

Miracle  Play  in  Three  Acts. 

Music  by  J  ales  Massenet. 

THE  CAST. 

The  Prior.  The  Painter  Monk. 

Jean,  the  Juggler.  The  Musician  Monk. 

Boniface,  the  Cook.  The  Sculptor  Monk. 

ACT  I. 

The  good  people  of  Paris  have  come  out  to  the  Abbey 
of  Cluny,  in  the  fields,  to  celebrate  the  Festival  of  the 
Virgin.  Various  booths  attract  purchasers,  and  sing- 
ing and  dancing  while  the  time  joyously  away.  In  the 
midst  of  it  all  the  song  of  the  juggler  is  heard  coming 
nearer,  and  the  crowd  is  ready  to  be  amused  in  another 
way.  Jean  comes  in,  and  begging  the  pardon  of  the 
noble  company,  spreads  on  the  ground  a  shabby  and 
slender  outfit,  and  performs  some  timeworn  tricks,  at 
which  the  crowd  murmur.  He  dances  awkwardly,  and 
they  laugh  at  him.  He  then  proposes  to  sing,  but  his 
songs  are  too  goodygoody  for  their  taste,  so,  asking 
pardon  of  the  Virgin,  he  starts  a  somewhat  scandalous 
song  of  the  day,  in  which  everybody  joins  with  enthu- 
siasm. While'  it  is  going  on  the  Abbey  gate  opens, 
and  the  Prior  appears  and  launches  anathema  at  those 
who  come  to  desecrate  such  a  spot.  The  crowd,  in 
fear,  speedily  melts  away,  leaving  Jean  rooted  to  the 
spot.  Upon  him  the  Prior  vents  his  ire.  Jean  begs  for 
mercy  so  humbly  that  the  Prior,  touched,  tells  him  to 
come  and  join  the  brotherhood.  Jean  pleads  for  the 
delights  of  liberty,  but  the  Prior  tells  him  that  liberty 
means  starvation,  irreligion  and  perdition.  At  this 
moment  Boniface,  the  Cook  Monk,  arrives,  leading  his 
donkey  loaded  down  with  good  things — offerings  of 
the  faithful,  which  he  enumerates  to  the  Prior.     Poor 

56 


hungry  Jean's  eyes  are  starting  out  of  his  head,  and 
when  the  Prior  and  Boniface  move  to  go  within  the 
cravings  of  his  stomach  compel  him  to  follow  them. 

ACT  II. 

In  the  great  hall  of  the  Abbey  the  Painter  Monk  is 
just  finishing  a  picture  of  the  Virgin  for  the  high  al- 
tar, the  sculptor,  is  limning  a  statue  of  the  same,  and  the 
Musician  Monk  is  rehearsing  a  hymn  of  his  own  com- 
position, for  which  the  Prior  praises  him,  but  observ- 
ing some  jealousy,  he  also  gives  credit  to  the  painter 
and  the  sculptor.  These  two  then  argue  strenuously 
as  to  the  relative  merits  of  sculpture  and  painting,  and 
the  musician  joins  in  to  insist  that  music  is  above 
either.  Their  discussion  soon  becomes  so  violent  that 
the  Prior  orders  them  to  stop  at  once  and,  as  a  penance 
for  pride  and  temper,  to  carry  the  painting  to  the 
church  and  then  pray  before  it.  Jean,  alone  with  Boni- 
face, who  is  preparing  the  aliments  for  dinner,  laments 
his  ignorance.  He  wishes  to  pray  to  the  good  Virgin, 
like  the  others,  but  as  he  does  not  know  Latin,  which 
apparently  is  the  only  language  she  understands,  what 
is  the  use.  Boniface  tells  him  that  the  Virgin  listens  to 
the  humblest  prayer  for  she  had  her  own  experiences. 
When  she  was  fleeing  from  Herod  with  the  infant  Jesus 
in  her  arms  she  did  not  know  where  to  hide  the  child. 
She  asked  a  rose  by  the  way  side  to  let  her  place  the  in- 
fant in  its  chalice.  But  the  rose  was  proud  and  refused. 
Sorely  beset  she  saw  an  humble  sage  flower  by  the  road- 
side and  begged  it  to  help  her  and  the  little  flower  opened 
its  petals  and  then  closed  them  over  the  infant  Jesus  and 
he  was  saved  from  the  soldiery.  That  is  why  the  sage  is 
blessed  among  flowers,  besides  being  useful  in  cookery. 

ACT  III. 

In  the  church  of  the  convent,  Jean  comes  timidly  and 
alone  carrying  with  him  the  juggler's  outfit.  He  approaches 

57 


the  high  altar  and  addresses  the  Virgin,  saying  that  as 
he  does  not  know  how  to  gain  her  favor  in  Latin  the  only 
thing  he  can  do  is  to  give  a  performance  in  her  honor. 
He  then  goes  through  his  simple  tricks.  Then  he  begs 
pardon  for  his  song  which  may  not  suit  her  ears.  As  this 
proceeds  a  monk  comes  in,  sees  Jean,  and,  shocked  be- 
yond measure,  runs  to  notify  the  Prior.  He  arrives  ac- 
companied by  his  monks  and  watches  Jean  in  anger  and 
amazement.  The  monks  exclaim  "Sacrilege!"  and  want 
to  tear  Jean  to  pieces  as  he  goes  on  awkwardly  dancing, 
but  Boniface  restrains  them.  He  suddenly  points  to  the 
Virgin.  The  figure  becomes  gradually  illuminated,  the 
face  takes  on  a  beatific  smile,  and  the  arms  are  extended 
toward  Jean.  "A  miracle !"  exclaims  the  Prior,  and  they 
all  rush  toward  Jean  who  has  fallen  exhausted  to  the 
floor.  He  sees  the  Virgin  beckoning  to  him  and  mur- 
muring, "Now  I  shall  at  last  know  Latin."  He  dies  in  the 
Prior's  arms.  Saints  are  seen  surrounding  the  Virgin, 
while  the  Prior  solemnly  says,  "A  saint  has  been  among 


us." 


One  of  Massenet's  most  successful  works,  owing  largely  to  the 
fact  that  it  was  the  first  modern  opera  built  upon  an  old  miracle 
play.  The  part  of  Jean  by  a  woman  is  an  innovation.  It  has 
hitherto  always  been  sung  by  a  man.  The  work  comes  from  the 
Opera  Comique  in  Paris. 


58 


Manon 

Opera  in  Five  Acts.     Words  by  H.  Meilhac  and  P.  Gille. 

Music  by  J.  Massenet. 

THE  CAST. 

VV"^  Chevalier  des  Grieux.  Innkeeper. 

Comte  des  Grieux.  Manon. 

Lescaut.  L.  Pousette. 

GU1LLOT  MORFONTAIN.  JAVOTTE. 

De  Bretigny.      ,   'l^siyyc  Rosette. 

ACT    I. 

The  story  is,  of  course,  very  similar  to  that  of 
Manon  Lescaut  adopted  by  Puccini  many  years  after 
Massenet.  They  differ  materially  in  the  working  out. 
The  first  scene  is  at  the  inn  at  Amiens,  where  are  as- 
sembled the  old  beau,  Morfontain,  de  Bretigny  and 
some  actresses.  Manon  comes  in  accompanied  by 
Lescaut.  Morfontain  immediately  attempts  a  flirta- 
tion with  Manon,  but  is  repulsed  amid  laughter.  Then 
comes  Des  Grieux,  who  is  also  struck  by  Manon's 
beauty  and,  though  he  is  to  take  holy  orders,  falls  in 
love  with  her.  She  reciprocates  the  feeling,  for  a  gay 
life  in  Paris  is  better  to  her  mind  than  a  convent.  So 
without  more  ado  they  take  Morfontain's  horses  and 
carriage  and  elope. 

ACT    II. 

At  Des  Grieux's  apartment  in  Paris.  He  has  just 
written  a  letter  to  the  Count,  his  father,  asking  his 
consent  to  his  marriage  with  Manon  and  he  reads  it 
to  her.  Just  here  Bretigny  and  Lescaut  arrive  to  de- 
mand that  Des  Grieux  treat  Manon  honorably.  He 
shows  them  his  letter.  Privately  Bretigny  conveys  to 
Manon  that  her  lover  is  to  be  arrested  that  night. 
Manon  would  tell  Des  Grieux,  but  Bretigny  tells  her 
she'll  be  happier  with  him  and  all  his  riches  than  with 
the   other's   poverty.     So   Manon    says   nothing,   even 

59 


when  they  are  alone  together.  As  Des  Grieux  goes  to 
mail  his  letter  he  is  seized  and  carried  off.  Manon  re- 
pents too  late. 

ACT    III. 

A  joyful  open  air  scene  in  Paris.  Manon  is  now 
under  the  protection  of  De  Bretigny  and  is  the  re- 
cipient of  every  luxury.  She  overhears  the  Count  des 
Grieux  telling  Bretigny  that  his  son,  disgusted  with 
the  world,  is  about  to  take  holy  orders  at  St.  Sulpice. 
She  addresses  the  Count,  asking  to  know  more,  but 
he,  guessing  whom  she  is  is,  will  not  gratify  her.  So 
she  determines  to  see  Des  Grieux  at  once. 

SCENE  II.  At  St.  Sulpice.  The  Count  endeavors 
to  dissuade  his  son  from  his  course,  but  he  stands  firm. 
The  Count  gone,  Manon  enters  and  presents  herself 
to  Des  Grieux,  who  loads  her  with  reproaches.  But 
she  tells  him  she  repents  and  only  loves  him.  She 
beseeches  him  to  return  to  her.  At  first  strong  he 
gradually  relents  and  finally  throws  all  his  good  re- 
solves to  the  winds. 

ACT    IV. 

In  a  fashionable  gambling  house.  Manon  has 
brought  Des  Grieux  there  in  the  hope  of  mending  their 
fortunes,  as  they  have  gone  through  nearly  all  that  his 
father  had  given  him.  She  urges  him  to  gamble,  but 
he  is  very  loath  to  do  it,  but  Lescaut  also  persuades 
him  and  then  old  Guillot  Morfontain  taunts  him  so 
that  Des  Grieux  yields  and  begins  to  win  large  sums 
at  once.  Guillot  accuses  him  of  cheating.  Des 
Grieux  indignantly  repudiates  the  charge,  but  soon 
Guillot  returns  with  officers  of  the  law  and  causes  the 
arrest  both  of  Des  Grieux  and  Manon.  The  Count 
also  joins  Guillot  against  Manon  and  tells  his  son  that 
she  shall  be  placed  where  she  can  do  no  more  harm. 
Manon  is  distracted. 

60 


ACT    V. 

On  the  road  to  Havre.  Des  Grieux  urges  Lescaut 
to  rescue  Manon  when  the  soldiers  guarding  the  pro- 
cession of  girls  appears.  Lescaut  says  bribery  may 
succeed,  force  is  impossible.  Manon  comes  in  and  the 
meeting  of  the  lovers  is  delirious.  But  it  is  the  last 
test  of  Manon's  strength.  Des  Grieux  seeks  to  give 
her  hope  and  all  the  old  love  surges  in  Manon's  heart. 
But  the  struggle  has  exhausted  her  and,  breathing 
words  of  tenderness,  she  dies  in  the  arms  of  Des 
Grieux. 


Produced  at  the  Opera  Comique,  Paris,  in  January,  1884,  and 
adding  greatly  to  Massenet's  growing  fame.  It  is  still  one  of  the 
most  popular  works  in  the  repertoire.  It  was  first  produced  here 
at  the  Metropolitan  Opera  House  with  Sybil  Sanderson  and  Jean 
de  Reszke  in  the  principal  roles. 


61 


Sapho 

Lyric  Play  in  Five  Acts. 

Taken  from  the  Novel  of  Alphonse  Daudet  by  Henri  Cain 

and  Bemede. 

Music  by  J.  Massenet. 

THE  CAST. 

Jean.  Landlord. 

Caondal.  Fanny  Legrand  (Sapho). 

Cesaire.  Divonne. 

La  Borderie.  Irene. 

ACT    I. 

Reception  room  leading-  to  Caondal's  studio.  The 
sculptor  is  giving  a  costume  ball,  and  many  men  and 
women  are  present.  As  Caondal  and  his  friend,  La 
Borderie,  discuss  their  lost  youth,  Jean  enters  timidly, 
for  it  is  his  first  affair  of  the  kind,  and  he  confesses 
that  women  frighten  him.  He  will  not  go  in  and  dance, 
and,  left  alone,  he  regrets  that  he  is  not  back  home  in 
his  own  country  of  the  South.  Fanny  enters,  followed 
by  a  number  of  men,  whom  she  dismisses.  But,  seeing 
Jean,  she  speaks  to  him  and  tries  to  put  him  at  his 
ease.  At  this  moment  supper  is  announced,  and  Ca- 
ondal asks  them  both  to  join  him,  but  Fanny  bars 
Jean's  way,  and  asks  him  to  leave  the  place.  Jean  re- 
sists her,  pleading  for  a  moment,  and  then  suddenly 
both  of  them  run  out  as  voices  are  heard  calling, 
"Sapho!    Sapho!" 

ACT   II. 

Jean's  lodging  in  Paris.  He  and  his  father  are  to- 
gether. The  mother  is  out  with  Irene,  an  adopted 
daughter.  They  come  in  from  shopping  and  talk  of 
getting  away  for  home  in  an  hour.  The  mother  only 
wants  to  see  that  Jean's  lodging  is  comfortable.     Jean 

62 


and  Irene  are  left  together  and  talk  of  the  old  days 
when  they  were  children  and  loved  one  another  as 
brother  and  sister  and  Irene  used  to  be  afraid  and 
Jean  always  protected  her.  They  used  to  kiss,  then; 
why  not  now,  as  brother  and  sister?  Jean  gives  her 
a  chaste  kiss  on  the  forehead,  which  charms  the  old 
people  as  they  come  in  to  say  good-bye.  Off  they  go, 
leaving  Jean  to  his  work  in  Paris.  He  remains  alone, 
oppressed  by  loneliness,  when  to  his  surprise,  Fanny 
enters.  She  tells  him  she  had  been  Avatching  for  the 
departure  of  his  people,  but  now  she  has  seen  him, 
shall  go.  He  tells  her  she  is  not  in  the  way — he  can 
work  just  the  same.  She  sees  the  Sapho  of  Caondal  in 
the  place,  but  appears  not  to  recognize  it,  and  ex- 
presses her  hatred  for  artists.  As  he  wants  to  kiss  her 
she  tells  him  he  is  there  to  work  and  it  is  better  she 
should  go  away.  But  no,  he  loves  her,  yet  is  very 
poor.  That  is  nothing,  she  says ;  love  is  everything 
with  youth  as  their  portion.  While  he  works  she  will 
keep  house,  with  one  excursion  a  week  to  the  country. 
How  they  will  love  one  another.  It  is  for  good  and 
all — forever. 

ACT   III. 

A  country  restaurant  at  Mile  d'Avray  of  a  Sunday. 
Jean  and  Fanny  have  come  to  enjoy  the  day.  They 
have  been  together  a  year,  and  their  love  has  suf- 
fered no  disillusion.  They  are  happy.  As  they  go  out 
a  noisy  company  come  on,  composed  of  Caondal,  La 
Borderie  and  a  number  of  young  men  and  women. 
They  call  the  landlord  and  order  an  excellent  dinner, 
to  be  served  later,  and  over  their  wine  sing  and  make 
merry.  As  they  are  about  to  go,  Caondal  catches  sight 
of  Jean,  who  wanders  in,  and  asks  him  how  he  is  get- 
ting on  and  if  he  is  still  with  Sapho.  Sapho?  asks  Jean, 
surprised.    Yes,  Sapho,  Fanny  Legrand,  the  handsome 

63 


model.  No,  says  Jean,  hesitating,  it's  all  over.  So 
easily  as  all  that,  they  exclaim.  As  a  rule  a  rupture 
with  her  is  terrible.  Look  at  Froment;  he  became  a 
forger  and  was  put  away,  she  crying  that  she  would 
love  him  always.  And  what  became  of  their  child? 
Jean  is  thunderstruck.  He  tells  them  that  he  lied — for 
a  year  he  had  directed  his  soul  in  giving  her  his  heart. 
But  now  he  swore  to  them  that  it  wTas  all  over.  As  he 
says  this  Sapho  enters,  radiant.  Jean  turns  on 
and  curses  her  and  the  day  they  met.  So  she  is  the 
infamous  Sapho,  and  all  the  while  he  was  loving  her 
she  laughed  at  him.  But  that  love  now  was  changed 
to  disgust.  Fanny  knows  that  they  have  told  him  all. 
Well,  then,  she  says,  as  it  is  all  finished,  he  had  better 
return  to  his  papa  and  mamma,  nothing  left  but  to 
get  out.  Broken  with  suffering,  Jean  exclaims  "Adieu/' 
and  rushes  away.  She  runs  after  him,  but  returns  to 
tell  these  men  the  cowards  they  are.  In  a  burst  of 
invective  she  lets  them  know  they  are  the  ones  who 
have  ruined  all  that  was  good  in  her,  and  now  have 
brought  upon  her  this  misery.  She  hates  them  all,  and 
as  La  Borderie  laughs  at  her  sufferings,  she  hurls  her- 
self upon  him. 

ACT  IV. 

At  Avignon,  where  Jean  has  rejoined  his  family. 
His  mother  wants  to  know  the  cause  of  his  depression, 
and  he  hesitates  to  tell  her.  She  guesses  it  is  some 
bad  woman,  and  he  admits  that  it  is,  but  adds  that  it 
is  all  over,  and  asks  her  pardon.  All  will  be  well,  the 
mother  says,  but  he  must  now  stay  at  home  and  forget 
the  evil  influence.  He  promises,  and  she  goes  away  to 
tell  the  father.  Irene  comes  in  and  wants  Jean  to  let 
her  know  what  is  the  matter.  She  is  his  friend,  and 
friends  should  tell  each  other  everything,  but  the  father 
rushes  in  to  inform  Jean  that  the  woman  is  here.  Jean 

64 


will  see  her  and  will  prove  his  courage.  Fanny  comes 
in.  She  could  not  stay  without  seeing  him,  if  it  only 
be  to  say  farewell.  She  has  wept  so  much.  She  tried 
to  hope,  but  as  days  passed  and  he  did  not  come  back, 
she  yielded  to  despair.  She  could  not  think  of  Paris 
without  him.  Will  he  not  have  pity  on  her  breaking 
heart?  But  Jean  says  it  is  no  longer  possible.  He 
cannot  forget  her  past,  it  would  always  be  before  him. 
She  says  it  is  his  people  who  are  trying  to  keep  them 
apart.  At  this,  Jean  showing  anger,  she  tnrows  her- 
self on  her  knees,  and  implores  his  pity.  He  is  about 
to  give  way,  when  the  father  enters  and  tells  Jean  to 
go  writhin.  Fanny  clings  to  Jean,  but  finds  herself  face 
to  face  with  Divonne,  who  orders  her  out.  Fanny 
wants  to  know  who  she  is.  Divonne  answers,  "His 
mother !"  and  Fanny  bows  her  head  and  slowly  de- 
parts. 

ACT   V. 

The  room  at  Ville  d'Avray,  but  much  dilapidated. 
Fanny  is  alone,  broken  hearted,  preparing  to  leave. 
She  weeps  over  his  letters.  It  is  best  as  it  is.  She 
would  have  ruined  his  life.  Now  she  will  accomplish 
the  duty  she  owes  to  her  child,  and  bring  him  up  pure 
and  honest.  Jean  enters  suddenly.  To  her  astonished 
greeting  he  says  he  could  stand  the  separation  no 
longer.  But  she  tells  him  to  go  back,  to  forget  her. 
Is  it  to  join  another  lover?  he  asks.  Here  he  has 
broken  with  family,  friends — all,  only  to  find  her  per- 
jured and  false.  She  sees  in  this  proof  of  his  love,  and 
tells  him  she  will  remain.  But  her  expressions  revive 
his  jealousy  of  her  past,  and  she  feels  the  uselessness 
of  it  all.  He  is  ill  and  exhausted,  and  as  she  makes 
him  comfortable  he  again  tells  her  how  he  loves  her, 
and  sinks  off  in  slumber.  She  then  gently  disengages 
herself  from  his  arms  and  sits  down  to  write  him  a 

65 


letter,  telling  him  that,  loving  him  as  she  does,  it  is 
better  for  both  that  they  part  forever.  Giving  him  a 
gentle  kiss,  she  leaves  him  sleeping. 


As  an  opera  Sapho  was  initially  produced  at  the  Opera  Comique 
on  November  27,  1897,  with  Emma  Calve  in  the  title  part. 


66 


Thais 

A  Lyric  Comedy. 

Taken  from  Anatole  France's  Romance  by  Louis  Gallet. 

The  Music  by  Jules  Massenet. 

THE   CAST. 


Athanael. 
Nicias. 
Palemon. 
Thais. 


Albine. 

Myrtale. 

Crobyle. 


ACT  I 


SCENE  I.  It  is  the 
early  Christian  era.  A 
small  assemblage  of 
holy  men  called  Cenobites 
live  in  the  desert  of 
Thebes.  Athanael,  one  of 
them,  has  just  witnessed 
the  unholy  pleasures  of 
Alexandria  and  he  tells 
his  story  to  the  others, 
particularly  dwelling  upon 
a  famous  courtezan,  by 
name  Thais,  who  governs 
men  through  vice.  He 
would  like  to  bring  this 
soul  to  God.  Palemon, 
the  chief  Cenobite,  ad- 
vises to  leave  it  alone. 
They  separate  and  Atha- 
nael sleeps.  He  has  a  vision  in  which  he  sees  Thais  in 
the  amphitheatre  at  Alexandria,  acclaimed  as  a  goddess 
and  he  awakes  determined  to  deliver  this  woman  from 
sin.     He  calls  to  his  brethren,  who  press  about  him  and 

67 


RENAUD. 


tells  them  of  his  mission.  Palemon  would  still  hold  him 
back,  but  Athanael  departs  as  they  speed  him  on  his  way. 
SCENE  II.  The  house  of  Nicias  at  Alexandria. 
Athanael  appears  and  demands  to  see  Nicias,  who 
is  a  wealthy  man  of  fashion  and  who  greets  Athanael  as 
an  old  friend.  He  laughs  at  Athanael  when  the  latter 
tells  his  mission.  But  as  Thais,  his  mistress,  will  soon  be 
here  he  wants  him  to  appear  well  before  her.  So  his  two 
slaves,  Crobyle  and  Myrtale,  anoint  him  and  place  rich 
robes  over  his  monk's  dress.  Thais  is  announced  and  she 
comes  surrounded  by  a  throng  of  satellites.  She  remarks 
on  the  severe  mien  of  Athanael  and  laughs  at  him  when 
he  tells  of  salvation  and  a  life  everlasting.  She  believes 
in  but  love  and  joy  and  pleasure.  Athanael  says  he  will 
go  to  her  palace  that  night  and  prove  to  her  that  there  is 
a  higher  power.    Thais  dares  him  to  do  it. 

ACT  II. 

The  palace  of  Thais.  She  is  alone  and  prays  to  Venus 
for  a  continuance  of  youth  and  beauty.  Athanael  enters 
and  she  puts  in  play  all  her  cajoleries.  He  prays  for 
strength  to  resist  the  temptation  and  speaks  to  her  stern- 
ly. There  is  but  one  love,  he  tells  her,  that  of  God,  and 
but  one  life,  the  one  to  come.  She  treats  him  lightly  at 
first,  but  gradually  the  new  doctrine  makes  an  impress 
and  she  succumbs  to  his  power  and  then  revolts  against 
it.  Telling  her  he  will  await  her  coming  Athanael  de- 
parts. 

SCENE  II.  The  outside  of  Thais'  house.  Athanael  is 
extended  on  the  doorstep.  Thais  comes  to  him  and  tells 
him  to  lead,  she  will  follow.  Athanael  will  take  her  to  a 
convent  in  the  desert  presided  over  by  Albine  and  Thais 
joyfully  consents.  But  at  this  moment  Nicias  and  his 
licentious  friends  make  an  irruption  just  as  Athanael  tells 
Thais  to  go  within  and  set  fire  to  all  her  worldly  goods, 
including  her  palace.      When   she   appears  again  she  is 

68 


meanly  clad.  But  by  the  light  of  the  flames  the  mob  rec- 
ognize her  and  oppose  her  going.  They  insult  Athanael 
and  wish  to  do  him  bodily  harm.  They  demand  his  death, 
but  Nicias  interposes  and  by  throwing  handfuls  of  gold  to 
the  populace  distracts  their  attention  and  permits  Athanael 
and  Thais  to  escape. 

ACT  III. 

SCENE  I.  Thais,  half  dead  with  fatigue  and  led  by 
/\thanael,  arrives  at  an  oasis  on  the  desert.  He  seats  her 
in  the  shade  and  pities  her  sufferings,  which  have  been 
borne  with  such  courage.  He  brings  her  fruit  to  eat  and 
water  to  drink  and  bathes  her  wounded  feet.  Voices  are 
heard  approaching.  It  is  Albine  and  the  White  Ladies, 
who  receive  Thais  from  Athanael  and  take  her  into  their 
sisterhood.  Athanael  alone  gives  a  cry  of  anguish.  He 
will  see  her  no  more. 

SCENE  II.  In  the  garden  of  the  convent  surrounded 
by  Albine  and  the  White  Ladies,  Thais  is  dying.  She 
sees  the  promise  of  a  blessed  hereafter.  Her  companions 
call  her  Saint.  Athanael  appears  and  as  the  women  move 
away  he  falls  on  his  knees  beside  Thais.  She  speaks  of 
the  world  to  come,  but  he  only  of  this  world,  in  which  he 
implores  her  to  remain.  Nothing  is  true  but  life  and  love. 
He  loves  her.  But  she  does  not  understand  him.  Her 
spirit  is  already  elsewhere  and  she  dies  with  the  name  of 
God  on  her  lips,  unknowing  both  his  love  and  his  despair. 


Produced  at  the  Grand  Opera  in  Paris  and  revived  there  last 
summer  successfully  with  Mary  Garden  and  M.  Renaud  in  the 
roles  they  sang  at  the  Manhattan  Opera  House  last  winter.  A 
good  example  of  the  prolific  Massenet's  later  style. 


69 


L'Africaine 

Grand  Opera  in  Five  Acts. 
Book  by  Eugene  Scribe. 
Music  by  G.  Meyerbeer. 

THE  CAST. 

Vasco  di  Gam  a.  Don  Alvar.   . 

Nelusko.  Selika,  a  Slave. 

Don  Pedro.  Inez. 

Don  Diego.  Anna. 

Grand  Inquisitor.  Grand  Brahmin. 

ACT   I. 

Vasco  di  Gama,  a  young  naval  officer,  appears  before 
the  Royal  Council  in  Lisbon  and  urges  that  he  be  given 
ships  and  men  to  prove  that  a  passage  around  the  Cape 
of  Storms  (Good  Hope)  is  possible.  In  support  of  his 
theory  he  produces  two  slaves,  Selika  and  Nelusko, 
who  have  been  captured  by  him  in  these  unknown 
lands.  The  Council  listens,  and,  influenced  by  Don 
Pedro,  its  President,  refuses  the  sought  for  aid.  Di 
Gama  is  furious  and  uses  language  so  violent  that  he  is 
ordered  to  prison.  Selika  and  Nelusko  are  sent  there 
as  infidels. 

ACT  II. 

Vasco  languishes  in  prison.  While  he  sleeps  Ne- 
lusko would  kill  him,  but  Selika  prevents  it,  and  it  is 
evident  that  she  loves  him.  Vasco,  waking,  examines 
the  map  and  Selika  shows  him  the  right  passage  he 
seeks  and  warns  him  that  the  one  he  thought  of  was 
fatal.  Inez,  whom  Vasco  loves,  comes  with  Don 
Pedro,  her  hsuband.  Vasco  gives  her  Nelusko  and  Se- 
lika, and  the  latter  grieves.  Inez  hands  Vasco  a  royal 
pardon,  but  his  joy  is  brief,  for  he  learns  that,  profiting 
by  the  discoveries  that  he  has  made,  Don  Pedro  is 
about  to  attempt  the  doubling  of  the  Cape  ahead  of 

70 


him.     Inez  is  to  accompany  him,  and  Selika  and  Ne- 
lusko  will  go  with  her. 

ACT   III. 

On  board  Don  Pedro's  ship.  Everything  is  working 
smoothly,  but  Nelusko  predicts  a  heavy  storm  and  begs 
to  be  allowed  to  take  the  helm,  and  after  some  doubts 
his  request  is  acceded  to.  Suddenly  another  ship  is 
seen.  It  is  Vasco's,  and  he  comes  aboard  to  warn  Don 
Pedro  that  he  is  running  into  danger.  Don  Pedro,  fear- 
ing Vasco's  success,  orders  him  shot,  but  heeding  the 
prayers  of  Inez,  Don  Alvar  and  Selika,  causes  him  to 
be  put  in  irons  below.  Suddenly  the  ship  is  boarded 
by  a  horde  of  Indians.  The  crew  is  overpowered  and 
all  are  made  prisoners. 

ACT   IV. 

The  Indian  Kingdom  of  which  Selika  is  Queen.  All 
the  men  captured  have,  including  Don  Pedro,  been  put 
to  death  save  Vasco,  who  was  last  found  in  the  hold. 
The  women  are  about  to  meet  a  like  fate.  Vasco  comes 
on,  followed  by  soldiers.  The  savages  are  about  to  kill 
him,  when  Selika  stops  them  and,  to  save  his  life,  pro- 
claims him  her  husband.  Nelusko  protests,  but  Selika 
wins  him  over  to  swear  that  her  statement  is  true. 
Alone  with  Vasco,  she  tells  him  of  her  undying  love, 
and  he,  inspired  by  her  devotion,  promises  to  love  her 
in  return. 

ACT   V. 

Selika  learns  from  Inez  that  Vasco  has  always  been 
her  only  love,  and  is  so  yet.  At  first  angry,  she  is  con- 
vinced that  it  is  hopeless  for  her  to  part  these  two,  and 
she  determines  to  sacrifice  herself.  When  Nelusko  en- 
ters she  orders  him  to  conduct  Vasco  and  Inez  on 
board  their  ship  and  see  that  they  set  sail. 

In  the  second  scene  Selika  has  repaired  to  the  dread 

7i 


shade  of  the  fatal  mancanilla  tree.  She  sings  her  swan 
song  and  dies.  There  Nelusko  finds  her  and  remains  to 
share  the  fate  of  the  woman  he  worshipped. 

L'Africaine,  produced  in  1865,  was  Meyerbeer's  last  and  only 
posthumous  work  and  was  largely  pieced  out  from  scraps  found 
in  his  papers  and  completed  by  M.  Fetis,  director  of  the  Brussels 
Conservatoire,  who  wrote  the  entire  orchestration.  Nor  has 
L'Africaine  ever  enjoyed  the  popularity  of  some  of  Meyerbeer's 
other  works.     The  libretto  was  by  Scribe. 


72 


Les  Huguenots 

Written  by  Scribe.    Music  by  Meyerbeer. 

CAST. 

Raoul  de  Nangis.,  Tenor.  Valentine,  Soprano. 

St.  Bris,  Baritone.  Marguerite  de  Valois,  Soprano 

De  Nevers,  Baritone.  Urbain,  Contralto. 

Marcel,  Bass. 

ACT  I. 

At  the  chateau  of  the  Due  de  Nevers  in  Touraine, 
Raoul,  a  young  Huguenot,  is  a  guest  at  a  banquet 
among  a  number  of  Catholic  gentlemen.  He  tells  of 
having  rescued  a  lady  from  an  importunate  band  of 
students.  He  fell  in  love  with  her,  though  he  does  not 
even  know  who  she  is.  Marcel,  a  stern  old  Huguenot 
and  equerry  to  Raoul,  here  enters  and  expresses  his 
displeasure  at  seeing  him  in  such  company.  But  he 
is  laughed  aside  as  Nevers  is  called  out  to  meet  a  veiled 
lady  who  passes  to  the  garden.  The  guests  watch  the 
meeting,  and  Raoul  recognizes  in  the  stranger  the  one 
whom  he  saved  from  the  turbulent  crowd.  As  Nevers 
returns,  Urbain,  the  page  of  Marguerite  de  Valois,  comes 
in  with  a  note  from  his  mistress  commanding  Raoul  to 
come  to  her  in  strictest  secrecy,  his  eyes  bound  and  led 
by  Urbain.  Nevers  and  the  others  congratulate  Raoui 
on  his  good  fortune  and  the  act  closes  with  his  departm*.. 

ACT  II. 

The  gardens  of  Chenonceaux.  Marguerite  is  surround- 
ed by  her  maids  of  honor.  Valentine  comes  to  tell  the 
queen  that,  as  promised,  she  has  seen  Nevers  and  has 
induced  him  to  refuse  her  hand,  but  what  will  her  father, 
the  Count  de  St.  Bris,  say  to  it?  The  Queen  promises  to 
arrange  matters  with  him.     It  is  her  secret  plan  to  bring 

73 


about  a  match  between  Raoul  and  Valentine  so  as  to 
unite  two  prominent  Protestant  and  Catholic  families. 
Valentine  already  loves  Raoul.  She  departs  as  he  is 
brought  in  still  blindfolded  and,  the  bandage  removed, 
he  is  delighted  but  mystified  by  the  queen's  kindly  greet- 
ing. 

Now  enter  the  nobles  of  the  court,  both  Catholic  and 
Protestant.  At  the  queen's  request  they  all  swear  friend- 
ship and  also  to  approve  the  bethrothal  she  has  planned. 
St.  Bris  then  brings  in  his  daughter  Valentinve,  whom 
Marguerite  presents  to  Raoul  as  his  future  wife.  ~  Raoul 
recognizes  in  her  the  woman  who  had  the  secret  meeting 
with  Nevers,  and  thinks  a  discarded  mistress  is  being 
palmed  off  on  him.  He  therefore  violently  repudiates  her. 
to  the  astonishment  of  the  Queen,  the  grief  of  Valentine 
and  the  uncontrolled  rage  of  St.  Bris  and  Nevers,  who 
swear  that  his  blood  shall  flow  for  the  insult.  The  old 
Huguenot,  Marcel,  alone  is  satisfied. 

ACT  III. 

A  river  resort  near  Paris  and  two  inns  frequented  re- 
spectively by  Catholics  and  Huguenots.  A  church  at  rear 
where  repairs  the  bridal  procession  of  Nevers  and  Valen- 
tine. Raoul  sends  a  challenge  to  St.  Bris  by  Marcel,  and 
St.  Bris  at  once  conspires  with  his  friends  to  do  Raoul  to 
death  treacherously.  Valentine  overhears  the  plot  and 
wants  to  let  Raoul  know  of  it  in  time.  She  encounters 
Marcel,  who  tries  to  find  Raoul  to  warn  him  when,  just  as 
Valentine  re-enters  the  church,  Raoul  arrives  to  keep  his 
appointment  and  comes  face  to  face  with  St.  Bris  and 
the  latter's  friends.  Marcel  then  lets  his  master  know 
there  is  treachery  afoot.  Raoul  can't  believe  it  an3  is  0*1 
the  point  of  engaging  St.  Bris  when,  at  the  call  of  Mar- 
cel, the  Huguenots  pour  out  from  the  inn.  St.  Bris  calls 
on  the  Catholics  and  these  also  hasten  on.  There  is  dan- 
ger of  a  general  fight  when  at  the  moment  Queen  Mar* 

74 


guerite  of  Valois  appears,  preceded  by  the  Royal  Guards. 
She  is  angered  and  commands  all  to  desist.  St.  Bris  and 
Raoul  mutually  accuse  one  another  of  having  begun  the 
disturbance.  Marcel  points  to  Valentine  as  the  one  who 
disclosed  the  plot  to  kill  Raoul.  The  latter  is  surprised, 
and  still  more  when  Marguerite  tells  him  that  it  was  at  her 
behest  that  Valentine  went  to  meet  Nevers  to  break  off  a 
hateful  marriage.  Raoul,  now  in  despair,  sees  a  barge  ap- 
proach, from  which  descends  Nevers,  who  comes  to  carry 
off  his  bride.     As  the  curtain  falls  the  boat  moves  away. 

ACT  IV. 

Audience  room  at  the  town  house  of  Nevers.  Valen- 
tine is  alone  and  dejected.  Raoul  comes  in  furtively,  and 
Valentine  begs  him  to  fly  from  the  vengeance  of  her  father 
and  hei  husband.  As  they  suddenly  enter  Valentine  con- 
ceals him  behind  the  tapestry.  St.  Bris  then  discloses  to 
his  friends  the  project  sanctioned  by  the  King  to  deal  out 
death  to  all  Huguenots  this  night  of  St.  Bartholomew. 
All  acquiesce  except  Nevers,  who  denounces  it  as  infa- 
mous. He  is  placed  under  arrest.  St.  Bris  then  gives 
directions  as  to  carrying  out  the  massacre.  Soldiers, 
monks  and  nuns  are  admitted.  The  monks  bless  the 
swords  and  the  nuns  pin  white  crosses  on  the  arms  of  the 
Catholics  to  distinguish  them.  Then  all  leave  to  carry 
out  "the  will  of  Heaven  and  the  King." 

Raoul  comes  from  behind  the  tapestry  when  all  are 
gone.  He  is  filled  with  horror  and  rushes  to  the  centre 
door  which  he  finds  bolted.  Turning  he  meets  Valentine. 
He  would  go  to  join  his  brethren.  She  urges  him  to 
stay.  He  persists,  she  clings  to  him  and  avows  her  love. 
He  hesitates,  and  for  a  few  moments  both  forget  every- 
thing else  in  their  transport  of  passion.  But  the  sound  of 
the  great  bell  followed  by  a  fusillade  recalls  to  Raoul  his 
duty.  The  red  glare  of  it  is  seen  through  the  window.  He 
must   go.     She  detains   him.     He   frees   himself.      She 

75 


swoons.     Remaining  but  a  moment  to  embrace  her  inan 
imate  form  he  leaps  to  his  doom. 


Note. — There  exists  a  fifth  act,  which  is  never  performed  here 
and  seldom  elsewhere.  In  it  Raoul,  Valentine  and  Marcel  meet 
during  the  massacre,    Ail  are  killed- 


76 


L Etoile  du  Nord 

(Star  of  the  North.) 

Opera  in  Three  Acts. 

Words  by  Scribe. 

Music  by  G.  Meyerbeer. 

THE  CAST. 

Peter,  the  Tsar.  Ismaeloff. 

Danilowitz.  Catharine. 

George.  Prascovia. 

Gritzenko.  Natalia. 

Termoloff.  Ekimona. 

ACT  ! 

The  scene  is  near  Wiborg,  on  the  Gulf  of  Finland. 
Peter,  disguised  as  a  carpenter,  takes  the  part  of  Danilo- 
witz, a  pastry  cook,  when  the  latter  refuses  to  drink  to 
Sweden  but  drinks  to  Russia  instead.     As  a  row  is  im- 
minent the  bell  calls  all  to  work  and  Danilowitz  tells 
Peter  that  he  is  going  back  to  Russia  to  become  a  sol- 
dier.    Peter  says  he'll  go,   too.     George  comes  on  and 
tells  Peter  that  he  loves   Prascovia,  but  has  not  dared 
ask  her  father  for  her  hand,  so  Catharine,  his  sister, 
has  gone  to  do  it  in  his  place.     They  are  in  the  act  of 
drinking    to    success    when    Catharine    enters    and    tells 
them  that  her  news  is  good.     The  father  has  consented. 
Then  she  upbraids  Peter  for  drinking,  which  so  enrages 
him  that  he  leaves  her.     Prascovia  now  comes  in  great 
alarm  to  say  that  the  Cossacks  have  arrived  to  pillage 
everything,  but  Catharine  tells  them  to  leave  it  to  her 
and,  shortly  after  the  Cossacks'  arrival,  she  appears  as 
a  gypsy  and  is  recognized  by  them  as  a  sainted  one. 
She  prophesies  to  them  and  takes  them  all  off  in  good 
humor.     Peter,  who  has  watched  her  stratagem,  when 
she  returns  tells  her  that  she  has  inspired  him  with 

77 


higher  purpose  and  that  he  loves  her.  She  then  prom- 
ises to  be  his  when  he  proves  himself.  The  marriage 
now  prepares,  when  news  comes  that  George  is  drawn 
in  the  conscription  and  he  and  Prascovia  are  in  despair 
when  Catharine  tells  them  that  she  will  find  a  substi- 
tute. The  wedding  festival  now  begins  as  in  the 
background  the  soldiers  begin  to  embark,  Catharine 
disguised  in  a  long  cloak  among  them.  She  has  taken 
George's  place. 

ACT  II. 
The  Russian  camp.  Officers,  soldiers  and  others  are 
singing  and  dancing.  After  a  time  Catharine  enters 
with  the  new  recruits.  She  attracts  the  attention  of 
Gritzenko  who,  in  his  cups,  tells  her  of  a  conspiracy 
against  the  Tsar  and  lets  Catharine  read  his  instruc- 
tions. Termoloff,  an  officer,  comes  and  excites  the 
men  but  orders  them  to  erect  a  tent  for  two  high  offi- 
cers. In  the  tent  are  soon  seen  Peter,  Danilowitz  and 
others,  with  Catharine  acting  as  sentinel  outside. 
Peter  and  Danilowitz  begin  drinking  and  incidentally 
flirting  with  two  vivandieres,  which  naturally  enrages 
Catharine,  and  as  she  goes  on  peeping  in  she  becomes 
more  and  more  bitter.  By  the  time  Peter  begins  to 
show  plainly  the  effect  of  drink  Ismaeloff,  coming  to 
present  a  paper,  catches  Catharine  spying,  and  when 
Gritzenko  upbraids  her  she  is  defiant  and  slaps  his  face. 
Brought  before  Peter  he  orders  her  to  be  shot.  She 
throws  herself  on  her  knees  before  him,  but  he  is  too 
far  gone  to  know  her.  As  she  is  led  away  memory 
comes  to  him  and  he  orders  her  brought  back,  but  Grit- 
zenko returns  to  say  that  the  young  soldier  had  broken 
away  and  swam  the  river.  But  Catharine  had  left  the 
conspiracy  papers  and  her  ring  in  Peter's  hands.  He 
would  lament  her  loss,  but  just  then  the  revolt  breaks 
out.     They  do  not  yet  know  Peter.     Suddenly  he  an- 

78 


nounces  himself,  makes  a  stirring  appeal  to  the  troops 
and,  as  they  hesitate,  the  loyal  regiments  arrive  and  de- 
ploy as  the  Tsar's  hymn  is  intoned. 

ACT  III. 

Peter  is  in  his  palace,  disconsolate  at  the  loss  of 
Catharine,  and  he  confides  his  sorrows  to  Danflowitz, 
now  one  of  his  high  officers.  Gritzenko  enters  and 
tries  to  explain  to  the  Tsar  how  he  let  the  young  sol- 
dier, who  had  slapped  his  face,  escape.  He  tells  how 
he  fired  at  him  as  the  prisoner  swam  the  river  and 
thinks  he  hit  him.  As  this  is  Catharine  he  speaks  of  he 
is  much  surprised  when  the  Tsar  tells  him  that  if  he 
he  does  not  produce  the  young  soldier  by  the  morrow 
he  himself  shall  be  shot.  But  he  is  relieved  by  the 
entrance  of  George  and  Prascovia,  for  it  was  under 
George's  name  that  Catharine  enlisted,  and  he  thinks 
he  has  his  man  and  tells  him  he  is  to  be  shot.  For- 
tunately George  recognizes  Danilowitz.  Peter  enters  in 
great  agitation.  He  has  heard  Catharine's  voice.  She 
enters  quite  bereft  of  her  senses,  but  it  is  immediately 
arranged  that  the  scene  of  the  first  act  shall  be  repeat- 
ed. Here  again  she  sees  the  familiar  faces  of  George, 
Prascovia,  Danilowitz,  and  finally  Peter,  who  folds  her 
in  his  arms  and  proclaims  her  "his  Empress." 


Originally  produced  in  1854  at  the  Opera  Comique  in  Paris. 
Much  of  the  music  was  taken  from  an  earlier  opera  of  the  same 
composer  called  Das   Feldlager  in  Schlesien. 


79 


Les  Contes  d' Hoffmann 

(The  Tales  of  Hoffman.) 

Opera  Comique  in  Four  Acts  and  an  Epilogue. 

Book  (from  the  German)  by  Jules  Barbier. 

Music  by  Jacques  Offenbach. 

THE    CAST. 

Hoffmann.  Luther. 

Counselor  Lindorf  Nathaniel 

Coppelius.  Hermann. 

Dapertutto.  Stella. 

Doctor  Miracle.  Giulietta. 

Spalanzani.  Olympia. 

Crespel.  Antonia. 

schlemil.  nlcklausse. 

Andres.  The  Muse, 

cochenille.  a  ghost. 
Frantz. 

ACT  I. 

Hoffmann  enters  a  familiar  tavern  in  a  German  town 
obsessed  by  drink  and  melancholy.  His  friends  twit  him 
about  his  love  affairs  and  ask  him  to  tell  the  story.  Hoff- 
mann at  first  declines,  but  as  the  punch  is  lighted  changes 
his  mind  and  begins. 

ACT  II. 

Spalanzani,  a  man  of  science,  possesses  a  very  re- 
markable daughter,  Olympia,  and  he  has  invited  man} 
guests  to  be  present  at  her  bringing  out.  Among  these 
are  Hoffmann  and  his  friend  Nicklausse.  Coppelius 
enters  and  offers  to  sell  Hoffmann  eyeglasses  that  will 
make  him  see  anything  he  wants  to  see.  Hoffmann 
buys  a  pair.  Coppelius  then  concludes  his  bargain 
with  Spalanzani  for  a  pair  of  eyes  for  Olympia  and 
takes  notes  on  Elias,  a  banker,  in  payment.  The 
guests  assemble,  Olympia  comes  in  and  then  consents 

80 


to  sing.  Everybody  is  delighted  and  Hoffmann  straight 
away  falls  in  love  with  her  and,  as  the  guests  move 
about,  he  declares  himself  and  she  responds.  As  she 
leaves  and  Hoffmann  tells  Nicklausse  how  divine  she 
is,  Coppelius  returns,  furious,  exclaiming  that  he  has 
been  cheated — Elias  is  bankrupt.  He  slips  into  Olym- 
piads room  and  hides.  Dancing  then  begins  and  Hoff- 
mann takes  Olympia  for  a  partner.  She  dances  faster 
and  faster  till  Hoffmann  falls  exhausted.  As  she  re- 
tires to  her  room  a  noise  of  rending  and  smashing  is 
heard  and  Coppelius  enters  with  the  corpse  of  Olympia 
in  tatters.  She  was  only  an  automaton.  Coppelius 
and  Spalanzani  fight  while  Hoffmann  laments  his  lost 
love. 

ACT  III. 

In  Venice.  Giulietta  is  entertaining  Schlemil  and 
his  friends.  When  Hoffmann  arrives  with  Nicklausse. 
Schlemil  treats  him  impertinently.  Nicklausse  warns 
Hoffmann  against  falling  in  love  with  a  courtezan  and 
Hoffmann  laughs  at  the  notion.  E>ut  Dapertutto  wants 
Schlemil  out  of  the  way  and  persuades  Giulietta  to 
cause  Hoffmann  to  fall  in  love  with  her.  Giulietta  ex- 
ercises her  wiles  on  him  and  Hoffmann  falls  an  easy 
victim.  She  requests,  as  a  favor,  that  Hoffmann  will 
obtain  the  key  to  her  rooms  from  Schlemil,  who  has  it. 
Hoffmann  promises  and  when  Schlemil  enters  he 
makes  his  request.  Schlemil  tells  him  he  can  only 
have  the  key  with  his  life.  They  draw  swords  and 
fight.  Hoffmann  kills  Schlemil  and  rushes  with  the 
key  to  Giulietta's  door  finds  no  one  there,  but  as  he 
turns  around  sees  Giulietta  moving  off  in  a  gondola  in 
the  arms  of  another  man,  laughing.  Hoffmann  curses 
her  as  Nicklausse  rushes  in  to  tell  him  that  the  police 
are  coming.     They  flee 

81 


ACT  IV. 

Crespel  has  <*  daughter — Antonia — who  is  afflicted 
with  consumption.  She  does  not  understand  why  her 
father  will  not  let  her  sing,  but  reluctantly  complies 
with  his  wishes.  Crespel  orders  Frantz,  the  deaf  ser- 
vant, to  admit  nobody  while  Frantz  is  trying  his  voice 
and  a  dance.  Hoffmann  and  Nicklausse  enter.  An- 
tonia returns  and  rushes  to  Hoffmann's  arms.  They 
make  projects  for  their  long  deferred  marriage,  but 
Crespel  is  heard  coming  back  and  Hoffmann  hides. 
Dr.  Miracle  is  announced,  and  though  Crespel  tries  to 
prevent  him  he  gets  in.  He  wants  to  prescribe  for 
Antonia,  who  has  gone  to  her  room.  Crespel  opposes 
him  and  finally  pushes  him  out.  Miracle  returns 
through  the  wall.  Then  they  struggle  and  disappear 
together,  but  Hoffmann  now  understands  why  Antonia 
must  not  sing  and  he  also,  to  her  surprise,  begs  her  not 
to  do  so.  She,  however,  promises  and  Hoffmann  de- 
parts as  Miracle  reappears.  He  persuades  her  that 
to  sing  is  her  life  and,  as  she  hesitates,  he  causes  the 
picture  of  Antonia's  mother  to  become  animated  and 
join  in  his  request.  Antonia  yields  and  sings  on  till 
she  falls  exhausted.  Miracle  disappears.  Crespel 
rushes  in.  He  turns  on  Hoffmann,  who  comes  after, 
believing  him  responsible  for  Antonia's  condition,  but 
Nicklausse  seizes  the  knife  in  time.     Antonia  dies. 

EPILOGUE. 

"And  such/7  concludes  Hoffmann,  in  the  tavern,  "is 
the  story  of  my  loves.,,  The  crowd  that  had  listened 
to  him  melts  away  and  he  is  left  alone.  The  Muse  ap- 
pears to  him  in  his  stupor  and  tells  him  that  his  suffer- 
ings now  are  past — in  future  he  must  worship  none 
but  her      He  promises  and  falls  asleep  on  the  table  as 

82 


Stella,  another  of  his  loves,  goes  out  with  Counselor 
Lindorf. 


This  was  Offenbach's  last  effort.  In  fact  it  was  only  produced 
at  the  Opera  Comique  after  the  composer's  death,  and  with  only 
moderate  success.  It  was  heard  here  at  the  old  Fifth  Avenue 
under  the  management  of  Maurice  Grau  in  the  middle  eighties, 
with  Victor  Capoul  in  the  name  part.  It  did  not  succeed.  Re- 
cently important  excisions  and  alterations  have  been  made  in  the 
libretto  and  the  opera  has  been  turned  into  a  success  in  Europe 
as  well  as  here. 


83 


La  Boheme 

Opera  in  Four  Acts. 

Adapted  from  Henri  Murger's  "Vie  de  Boheme!' 

Music  by  G.  Puccini. 

PERSONAGES. 

RODOLPH.  BENOIT. 

schaunard.  alcidor. 

Marcel.  Museta. 

Collin.  Miml 

ACT    I. 

Rodolph,  a  poet,  Schaunard,  a  musician,  Marcel,  a 
painter,  and  Collin,  art  collector,  are  four  Bohemians  in 
Paris  living  as  best  they  may,  by  their  wits.  Rodolph  and 
Marcel  are  just  now  in  their  denuded  room  suffering  both 
from  hunger  and  cold.  They  put  a  play  of  Rodolph's  in 
the  stove  to  get  some  heat  and  burn  it  act  by  act,  and 
Collin  comes  to  enjoy  the  warmth.  A  boy  arrives  with 
provisions  and  fuel,  and  then  follows  Schaunard  who 
has  struck  a  run  of  luck.  He  has  been  engaged  by  an 
Englishman  to  play  his  parrot  to  death.  For  three  days 
he  had  been  yelling  and  playing  and  then  adopted  a  sim- 
pler means.  He  gave  the  bird  parsley.  It  died  and  he 
was  out  of  a  job.  While  they  are  feasting,  Benoit,  the 
landlord,  arrives  with  his  bill,  but  they  make  him  join 
their  party  and  ply  him  with  wine ;  after,  they  pretend  to 
be  shocked  at  one  of  his  stories  and  turn  him  out.  Then 
dividing  the  money  on  the  table  they  resolve  to  go  out 
and  have  a  good  time.  Rodolph  promises  to  join  them 
shortly,  as  he  must  finish  some  writing.  After  they  are 
gone  there  is  a  knock  at  the  door.  It  is  Mimi,  come  to 
ask  a  light  for  her  candle  which  has  blown  out.  As  she 
is  departing  she  coughs  and  partly  swoons,  dropping  her 
candle  and  key.  Rodolph  revives  her  and  they  both 
search  on  the  floor  for  the  key  in  the  dark.    He  finds  it, 

84 


but  pretends  he  can't  and  so  they  tell  each  other  their 
stories,  their  struggles,  until  Rodolph  asks  Mimi  in  sym- 
pathy to  join  him  and  his  companions.  They  depart 
together. 

ACT  II. 

A  public  square  in  Paris,  the  Cafe  de  Momus  on  one  side. 
The  four  friends  are  in  the  crowd  making  purchases. 
Rodolph  buys  Mimi  a  bonnet  with  roses  on  it.  Pushing 
their  way  through  the  tumult  the  three  others  carry  on 
a  table  from  the  cafe  and  all  seat  themselves  as  Rodolph 
introduces  Mimi  and  then  they  order  a  monstrous  repast. 
Musetta  comes  on  in  company  with  an  old  gentleman 
and  richly  dressed.  He  complains  that  she  tires  him  out, 
but  she  pushes  him  in  a  chair  and  then  she  grows  irri- 
tated that  the  four  friends  don't  notice  her,  particularly 
Marcel.  The  latter  is  disconcerted  at  seeing  her  with  this 
old  man.  Musetta  tries  in  every  way  to  attract  Marcel's 
attention.  Then  she  quarrels  with  the  waiter  and  keeps 
Alcidor  in  a  ferment.  She  must  get  to  Marcel,  and  to 
be  rid  of  her  old  adorer  pretends  that  her  shoe  is  killing 
her.  She  makes  him  rip  it  off  and  go  to  get  her  another 
pair.  She  then  rushes  into  Marcel's  arms.  It  is  then  dis- 
covered that  they  have  no  money  to  pay  the  bill.  Musetta 
tells  the  waiter  to  add  it  to  her  own  and  leaves  it  for 
Alcidor  to  pay.  A  procession  comes  along.  The  three 
friends  lift  Musetta  on  their  shoulders  and  join  Rodolph 
and  Mimi,  who  follow  laughing.  When  they  are  gone 
Alcidor  returns  and  is  presented  with  the  bill.  Seeing  it 
and  finding  himself  deserted,  he  falls  in  his  chair,  raging. 

ACT   III. 

At  one  of  the  gates  of  Paris.  It  is  an  early  winter 
morning.  The  Customs  men  examine  all  who  pass  in. 
Mimi,  forlorn  and  shivering,  coughing  incessantly,  comes 
to  ask  for  Marcel.    He  comes  out  of  the  inn  and  she  tells 

85 


him  that  while  she  loves  Rodolph  and  he  her,  she  can 
stand  poverty  but  not  his  fits  of  insane  jealousy.  Marcel 
says  he's  happy  with  Musetta  because  mirth  binds  them 
together.  He  will  go  and  get  Rodolph.  But  Mimi  won't 
meet  him  and  she  hides  behind  the  trees  as  he  comes  on. 
Rodolph  tells  Marcel  that  he  has  resolved  to  part  from 
Mimi.  It  may  be  his  jealousy,  but  they  are  very  unhappy. 
She  is  heartless.  He  does  love  her,  the  more  so  she's 
ailing  and  will  soon  die.  Overhearing  this  Mimi  has  a 
violent  fit  of  coughing  and  thus  reveals  her  presence. 
Rodolph  takes  her  in  his  arms  as  Musetta  rushes  out  of 
the  inn  laughing,  Marcel  following  furiously  and  accus- 
ing her  of  flirting.  As  they  continue  their  quarrel  and 
part  in  anger,  Rodolph  and  Mimi  resolve,  before  saying 
farewell,  to  await  another  springtime  and  forget  all  bick- 
erings and  bitterness.    They  walk  slowly  away  together. 

ACT  IV. 

Marcel  is  painting  and  Rodolph  writing  as  in  the  first 
scene.  They  both  are  sore,  but  Marcel  kisses  some  rib- 
bons of  Musetta  and  Rodolph  sings  to  the  little  bonnet 
with  roses  that  was  Mimi's.  Schaunard  brings  in  four 
rolls  and  a  herring,  and  they  all  sit  and  pretend  they  are 
having  a  fine  meal  and  that  the  water  is  champagne. 
Then  they  have  a  dance  and  a  mock  duel  occurs  between 
Schaunard  and  Collin  with  tongs.  At  this  moment  Mu- 
setta enters  saying  that  Mimi,  ill,  is  with  her.  They  all 
bustle  about  and  Rodolph  supports  Mimi  to  the  bed  that 
is  drawn  out.  She  says  she  feels  better  to  be  near  him, 
but  she  is  so  cold.  She  greets  the  friends  who  are  in 
despair  as  there  is  nothing  in  the  house  to  give  her.  Mu- 
setta takes  off  her  earrings  and  tells  Marcel  to  go  sell 
them  to  buy  tonics  and  medicines  for  her.  She  goes,  too, 
and  Collin  takes  off  his  overcoat  to  pawn  it.  Schaunard 
follows.  A  tender  scene  takes  place  between  Mimi  and 
Rodolph,  who  says  they  will  never  part  again.    He  thinks 

86 


she  is  growing  better.  Then  all  come  back  bringing  va- 
rious things.  The  doctor  is  coming.  But  as  they  prepare 
everything  for  her  comfort  the  end  comes.  Rodolph 
with  a  great  cry  throws  himself  on  the  bed.  The  others 
silently  weep. 


Boheme,  which  in  its  verve,  piquant  combinations  of  color  and 
unflagging  inspiration  stands  foremost  among  Puccini's  works,  so 
far,  first  saw  light  at  Milan  in  1896.  It  made  an  instant  and 
unqualified  hit,  and  that  hit  has  been  repeated  everywhere,  the 
opera  has  been  performed.  It  was  first  given  here  by  a  wan- 
dering Italian  company  at  the  Star  Theatre  on  Broadway  and 
Thirteenth  street,  and  was  only  subsequently  taken  up  by  Grau  at 
the  Metroplitan  Opera  House. 


87 


La  Tosca 


Opera  in  Three  Acts. 

Taken  fromsSardous  Drama. 

Music  by  G.  Puccini. 

THE  CAST. 
Mario  Cavaradossi.  Spoletta. 


Baron  Scarpia. 
Angelotti. 


Sciarrone. 
Floria  Tosca 


ACT   I. 


Mario  is  painting  in 
the  church  of  St.  Andrea 
in  Rome  when  a  friend 
of  his — Angelotti,  who 
has  just  escaped  from 
the  Castle  of  Sant.  An- 
gelo  —  rushes  in  and 
hides  in  one  of  the 
chapels.  Cavaradossi 
gives  him  his  dinner 
basket  and  promises  at 
nightfall  to  see  him 
safely  away.  As  the  fugi- 
tive goes  to  hide  again, 
Tosca,  who  is  a  cele- 
brated singer,  comes  in  to  see  Mario,  of  whom  she  is 
deeply  enamored.  She  wishes  him  to  come  to  her 
villa  that  night,  and  grows  jealous  that  he  does  not  re- 
spond more  warmly.  But  Mario  is  thinking  of  his 
friend  Angelotti,  who,  as  soon  as  Tosca  leaves,  comes 
out  of  his  hiding  place  in  terror  as  the  great  bell  of  Sant. 
Angelo  has  just  given  warning  of  his  escape.  Mario 
resolves  to  conceal  him  in  the  well  of  his  villa  for  the 
present,  and  the  two  depart  together.  The  Sacristan  is 
engaged  with  his  choir  boys  when  Scarpia,  the  Chief  of 

88 


MARIA  LABIA. 


Police,  enters.  He  interrogates  the  nervous  Sacristan 
and  soon  discovers  enough  to  lead  him  to  believe  that 
Angelotti  has  been  there  and  that  Mario  Cavaradossi  has 
connived  at  his  flight.  Just  then  Tosca  comes  in  to  tell 
Mario  she  must  sing  that  night,  and  Scarpia,  using  the 
utmost  courtesy,  draws  enough  from  her,  by  exciting 
her  jealousy,  to  confirm  his  opinion  of  Cavaradossi's  com- 
plicity.    Scarpia  hopes,  Mario  out  of  the  way,  to  become 

Tosca's  lover. 

ACT    II. 

Scarpia's  apartments  in  the  Farnese  Palace.  He  is  at 
supper  and  sends  a  note  to  Tosca  that  he  must  see  her 
after  she  has  sung.  Spoletta,  his  principal  agent,  comes 
in  to  say  that  following  Tosca  he  had  come  to  a  villa  and 
searched  it.  He  had  failed  to  find  Angelotti,  but  caught 
Cavaradossi  and  had  brought  him  here.  Mario  is  intro- 
duced and  demands  to  know  what  it  means.  Scarpia 
accuses  him  at  once  of  conniving  at  Angelotti's  escape. 
Mario  denies  everything.  Scarpia  threatens,  but  Mario 
treats  him  with  contempt.  Tosca  arrives  and  Mario  warns 
her  to  say  nothing.  Mario  is  taken  to  another  room  to 
have  the  truth  tortured  out  of  him.  Tosca  does  not 
realize  this.  Scarpia  plies  her  with  questions,  but  getting 
no  satisfaction,  he  tells  her  of  the  torture  and  she  hears 
Mario  groan.  When  she  still  refuses,  Mario's  torture  is 
redoubled,  the  door  is  opened  and  she  is  permitted  to  see 
the  ordeal.  Scarpia  says  to  her  that  unless  she  will  give 
Angelotti's  hiding  place  away  her  lover  will  die.  Unable 
to  support  the  agony  she  tells  the  secret  of  the  well. 
Cavaradossi  is  brought  to  the  room  in  a  swoon.  He  re- 
proaches Tosca  for  having  told  and  Scarpia  orders  him 
taken  away.  She  clings  to  him,  but  a  threat  of  Scarpia's 
brings  her  back.  It  is  that  Mario  shall  suffer  death.  She 
begs,  she  pleads ;  yes,  Mario  can  be  saved ;  the  price  will 
be  herself;  he,  Scarpia,  loves  her.  She  recoils  with 
horror  at  the  proposition.     He  pursues  her,  she  evades 

89 


him.  Spoletta  comes  in  to  say  that  Angelotti  when  cap- 
tured in  the  well  took  poison  and  died.  The  fear  of  such 
a  fate  for  Mario  causes  Tosca  to  consent  to  Scarpia's 
proposal.  Scarpia  must  give  immediate  orders  for  Ca- 
varadossi's  release  and  a  safe  conduct  out  of  the  coun- 
try for  two.  Scarpia  consents,  but  says  appearances  must 
be  kept  up.  He  tells  Spoletta  that  the  soldiers  in  the 
shooting  must  use  blank  cartridges — just  like  Palmieri: 
Left  together,  Scarpia  writes  the  safe  conduct.  As  his 
back  is  turned  Tosca  takes  a  knife  from  the  table  and  as 
Scarpia  comes  toward  her  smilingly  for  his  reward,  she 
stabs  him  to  the  heart.  He  falls  and  dies,  cursing  her. 
She  calmly  places  the  candles  about  his  head,  the  crucifix 
on  his  breast  and  departs. 

ACT   III. 

Cavaradossi  is  brought  to  the  platform  of  Sant.  An- 
gelo  for  execution.  He  laments  his  fate  as  Tosca  comes 
in  with  the  safe  conduct  and  tells  Mario  of  the  death  of 
Scarpia  and  of  the  coming  execution  only  being  a  make- 
believe.    Both  are  overjoyed  at  the  bright  prospect. 

The  file  of  soldiers  come  up  by  the  trap  door  and  line 
themselves.  Tosca  tells  Mario  to  be  sure  to  fall  when 
they  fire.  They  do  fire  and  he  does  fall,  but  when  Tosca 
rushes  forward  with  loving  words  she  finds  a  lifeless 
body.  The  guns  were  loaded — just  like  Palmieri.  As 
Tosca  gives  way  to  her  despair,  cries  are  heard.  They 
come  to  arrest  her  for  the  murder  of  Scarpia.  Rushing 
to  the  battlements  she  throws  herself  headlong  to  death. 


Tosca,  the  third  of  Puccini's  successes,  was  first  produced  in 
1899  at  Milan.  It  tested  the  composer's  dramatic  powers,  and 
he  got  out  of  the  difficulty,  especially  the  killing  in  the  second 
act,  rather  gracefully  than  well.  But  the  opera,  as  a  whole,  is 
interesting  and  has  proven  very  successful. 


90 


Madame  Butterfly 

Opera  in  Three  Acts, 

From  the  Drama  by  David  Belasco  and  /.  Luther  Long. 

Music  by  G.  Puccini. 

THE   CAST. 

Cho-Cho-San  (Madame  Butterfly).    Lieutenant  Pinkerton. 
Suzuki  (her  maid).  Sharpless. 

Kate  Pinkerton.  Goro. 

The  Aunt.  Tamajori. 

The  Cousin.  The  Bonze. 

At  Nagasaki — Present  Day. 

ACT    I. 

Lieutenant  Pinkerton,  U.  S.  Navy,  is  being  shown  over 
a  house  he  has  leased  from  Goro,  a  marriage  and  real 
estate  agent.  They  await  the  arrival  of  Cho-Cho-San, 
with  whom  Pinkerton  is  about  to  contract  a  Japanese  mar- 
riage, when  Sharpless,  the  U.  S.  Consul,  arrives  and 
endeavors  to  dissuade  his  friend  from  the  step  he  is  about 
to  undertake.  Pinkerton  laughs  him  off.  Cho-Cho-San 
and  her  friends  come  and  Sharpless  learns  from  the  girl 
that  she  is  so  much  in  earnest  about  her  marriage  that  she 
has  abjured  her  faith  and  become  a  Christian.  How 
serious  this  is  the  Bonze  (her  uncle)  proves,  for  after 
much  vociferation  and  cursing,  he  orders  all  the  relatives 
out  of  the  house,  even  Cho-Cho-San's  mother.  Pinkerton, 
annoyed,  gets  rid  of  the  wThole  crew  and  brings  the  weep- 
ing little  wife  back  to  good  humor. 

ACT    II. 

It  is  now  three  years  later  and  Pinkerton  has  long 
been  recalled  from  his  post  in  the  Far  East.  Cho-Cho- 
San,  who  has  come  to  be  known  as  Madame  Butterfly, 
has  full  faith  that  Pinkerton  intends  to  keep  his  word 
to  come  back  soon,  but  Suzuki,  her  maid,  is  far  from 

QT 


having  the  same  confidence.  Sharpless  calls  on  an  un- 
pleasant errand — the  carrying  of  a  message  to  Butter- 
fly— that  Pinkerton  is  about  to  return,  but  this  time 
with  a  real  wife,  an  American  woman.  The  sight  of 
a  letter  from  Pinkerton,  however,  throws  Butterfly  into 
such  a  paroxysm  of  joy  that  Sharpless  cannot  find  it  in 
him  to  tell  her  the  truth.  He  is  relieved  by  the  entrance 
of  Prince  Samadori  who,  aided  by  Goro,  comes  to  offer 
Butterfly  marriage.  She  is  told  that  Pinkerton's  desertion 
of  her  is  equivalent  to  a  divorce.  In  Japan,  yes,  she  says, 
but  not  in  her  country,  America,  and  she  refuses  to  con- 
sider it.  Samadori  gone,  Sharpless  tries  again  to  tell  her 
the  truth,  but  she  fetches  her  little  fair  boy  and,  showing 
him,  says:  "Won't  that  be  enough  to  bring  him  back?" 
Sharpless  finds  his  task  hopeless  and  goes  away.  Cannon 
now  announce  the  arrival  of  Pinkerton's  ship.  Butterfly  is 
crazed  with  joy.  She  knew  he  would  come  back  to  her. 
Was  there  ever  a  doubt  of  it?  She  and  Suzuki  decorate 
the  house  with  flowers  and  themselves  and  the  baby  and 
then  watch  for  Pinkerton  to  come.  Suzuki  and  the  baby 
soon  fall  off  asleep,  but  motionless,  Butterfly  continues 
to  watch  and  wait  for  the  husband's  return  to  her. 

ACT   III. 

The  morning  has  come  and  Suzuki  awakes  to  find  But- 
terfly still  watching.  She  persuades  her  to  go  with  her 
boy  and  get  some  rest.  Almost  at  once  Pinkerton  and 
Sharpless  come  in  accompanied  by  Mrs.  Pinkerton. 
Suzuki,  amazed,  tells  them  of  Butterfly's  love,  faith,  devo- 
tion. Pinkerton,  in  a  sharp  pang  of  remorse,  realizes  the 
harm  he  has  dope  and  flees.  Suzuki  is  about  to  go  and  tell 
the  story  when  Butterfly,  expecting  to  meet  her  husband, 
comes  in  and  learns  it  for  herself.  Mrs.  Pinkerton  offers 
to  take  the  baby  and  treat  it  as  her  own.  Butterfly  listens 
to  it  all  with  fortitude  and  sends  a  message  to  Pinkerton, 
that  if  he  will  come  himself  in  half  an  hour,  he  can  have 

92 


the  baby.  Within  the  time  Pinkerton  and  Sharpless 
return.  But  they  find  no  Butterfly.  She  has  killed  herself 
with  her  father's  sword. 


In  his  operatization  of  Belasco  and  Long's  Japanese  drama  four 
years  ago,  Puccini  met  with  his  first  reverse.  When  Madame 
Butterfly  was  originally  produced  in  Milan  its  reception  was  so 
adverse  that  the  composer  sensibly  accepted  the  verdict  and  with- 
drew it.  He  instantly  went  to  work  revising  the  score  and  spent 
the  best  part  of  two  years  upon  it.  Last  year  it  was  brought  out 
in  its  second  form  and  proved  successful.  Puccini  has  selected  an- 
other of  Belasco's  plays,  The  Girl  of  the  Golden  West,  as  the 
subject  of  his  next  opera.  He  expects  to  have  it  ready  for  the 
season  of  1909-10. 


93 


Manon  Lescaut 

A  Lyric  Drama  in  Four  Acts. 

(From  the  Romance  by  V Abbe  Prevost.) 

Music  by  G.  Puccini. 

THE   CAST. 

Des  Grieux.  Edmond. 

Lescaut.  Dancing  Master. 

Geronte.  Manon  Lescaut. 

ACT   I. 

The  first  scene  is  at  an  inn  yard  at  Amiens.  Students 
and  girls  walk  about  there,  when  Des  Grieux  comes  in 
and  is  twitted  by  his  friends  with  having  no  sweetheart. 
Just  then  the  stage  coach  arrives  and  from  it  come 
Geronte,  on  the  one  hand,  and  Lescaut,  with  Manon, 
on  the  other.  Des  Grieux  is  immediately  struck  with 
Manon's  appearance  and  learns  from  her  that  her  brother 
is  taking  her  to  a  convent,  where  she  is  to  become  a  nun. 
She  does  not  fancy  the  life  and  De  Grieux  begs  of  her 
not  to  embrace  it.  The  upshot  is  that  they  make  an  en- 
gagement to  meet  in  the  inn  yard  later  in  the  evening. 
In  the  meantime  Geronte  has  also  taken  an  ardent  fancy 
to  Manon,  and  he  arranges  it  with  the  innkeeper  that  he 
shall  have  a  chaise  and  four  outside  the  inn  that  night  at 
a  certain  hour,  his  intention  being  to  abduct  Manon.  The 
plot  is  overheard  by  one  of  the  students,  Edmond,  who 
acquaints  Des  Grieux  with  the  facts.  Thus  it  happens 
that  when  Manon  comes  down  later  to  meet  Des  Grieux. 
while  Geronte  is  at  supper  and  Lescaut  is  gambling,  he 
tells  her  of  the  plan  for  her  abduction  and  begs  her,  rather 
than  submit  to  this,  to  fly  with  him.  After  some  hesita- 
tion she  agrees  to  the  plan,  and  the  act  ends  with  Geronte's 
grief  as  he  watches  the  two  making  off  in  the  distance, 
while  the  students  express  their  joy. 

04 


ACT    II. 

We  find  Manon  installed  in  Geronte's  house  in  Paris. 
She  has  grown  tired  of  poverty  with  Des  Grieux,  although 
she  still  professes  the  greatest  love  for  him.  Her  life  is 
now  one  of  riches  and  luxury,  still  she  cannot  bear 
Geronte,  and  plainly  tells  her  brother  Lescaut  so.  Lescaut 
tells  her  that  he  knows  where  to  find  Des  Grieux  and 
promises  to  bring  him  secretly  to  see  her.  Geronte  enters 
with  a  crowd  of  beaux  and  men  of  fashion,  and  a  dancing 
master  for  Manon,  and  the  dancing  lesson  takes  place, 
together  with  an  improvised  concert,  after  which  Geronte 
and  his  friends  leave.  No  sooner  have  they  done  so  than 
Des  Grieux  appears.  At  first,  reproaching  Manon  for  her 
unfaithfulness,  she  gradually  wins  him  over,  and  they  are 
in  the  midst  of  a  love  scene  of  reconciliation  when  Geronte 
suddenly  appears.  He,  of  course,  upbraids  Manon,  and 
she  retorts  insolently,  and  tells  him  plainly  that  she  never 
cared  a  jot  for  him,  but  had  loved  Des  Grieux  all  the  time. 
Geronte  leaves  in  a  towering  passion  and  pretty  soon 
Lescaut  comes  in  to  say  that  the  archers  are  surrounding 
the  house  with  the  intention  of  arresting  Manon.  Ter- 
rified, she  tries  to  fly  with  Des  Grieux,  but  they  are  too 
late,  the  archers  break  dowTn  the  doors,  and,  as  Manon 
endeavors  to  conceal  her  jewels,  Geronte  appears  and 
orders  her  instant  arrest  and  deportation.  Des  Grieux's 
tears  and  threats  have  no  effect.    Manon  is  carried  off. 

ACT   III. 

Shows  the  port  of  Havre.  The  girls  arrive,  loaded 
with  chains,  a  man-of-war  is  at  the  quay.  Des  Grieux 
and  Lescaut  are  both  there  in  an  attempt  to  rescue  Manon 
from  the  chain  gang.  By  bribing  a  sentry  Des  Grieux 
succeeds  in  reaching  her  prison  window  and  plans  an 
escape  that  night.  Through  some  misunderstanding,  how- 
ever, it  fails.  Manon  is  caught  and  restored  to  her  place 
among  the   wantons.     Des   Grieux   is  heartbroken   and 

95 


endeavors  to  reach  her,  even  inciting  a  small  riot,  but  this 
fails;  on  the  arrival  of  the  captain,  the  girls  are  marched 
aboard  and  De  Grieux,  at  the  last  moment,  by  applying  for 
a  place  as  cabin  boy,  is  permitted  to  accompany  the  expedi- 
tion which  sails  for  the  Louisianas. 

ACT  IV. 

Des  Grieux  and  Manon  are  found  alone  in  a  vast  plain 
endeavoring  to  reach  some  sort  of  civilization.  Manon 
is  worn  out  with  fatigue  and  Des  Grieux  endeavors  to  find 
shelter  and  food,  but  he  fails,  and  comes  back  to  receive 
the  dying  Manon  in  his  arms.  She  dies  with  words  of 
greatest  love  for  him,  while  he,  frantic  with  grief,  falls 
senseless  upon  her  body. 


When  Manon  Lescaut  was  first  produced  at  Turin  in  1893, 
Verdi  was  present  and  said  that  Puccini  was  the  next  big  man 
in  Italy  and  the  prediction  bids  fair  to  be  confirmed  by  works, 
though  Manon  in  itself  was  more  a  promise  than  a  fulfilment  in 
the  light  of  what  he  subsequently  accomplished.  Manon  Lescaut 
is,   however,    a   very    charming   work. 


96 


Crispino  e  la  Comare 

Comic  Opera  in  Three  Acts. 

By  L.  and  F.  Ricci. 

THE    CAST. 
Crispino  Tacchetto  Don  Asdrubale 

Fabrizio.  A   Mason. 

MlRABOLANO.  '  ANNETTA. 

CONTINO   DI    FlORE.  La  COMARE 

ACT    I. 

Crispino  and  Annetta,  his  wife,  are  so  poor  that  they 
owe  everybody.  Crispino  gets  no  cobbling  to  do  and 
Annetta  has  not  sold  a  single  song  that  day.  Asdru- 
bale threatens  to  put  them  out  for  not  paying  rent. 
Altogether  Crispino  is  in  such  a  state  that  he  rushes 
from  home  to  go  hang  or  drown  himself,  and  Annetta 
follows  after. 

Crispino  finds  himself  in  a  deserted  spot  where  there 
is  a  big  well  into  which  he  is  about  to  throw  himself 
when  a  Fairy  suddenly  emerges  from  it.  She  tells 
Crispino  that  she  will  make  him  rich.  He  is  to  assume 
the  character  of  a  doctor.  If  his  patient  is  going  to  die 
she  will  appear  by  his  side.  If  she  does  not  appear 
the  patient  will  get  well.  Before  going,  the  Fairy 
throws  him  a  bag  of  gold.  Annetta  comes  in  and  can- 
not believe  the  good  luck,  and  treats  him  with  con- 
tempt; so  at  first  they  .quarrel,  but  ultimately  go  ofif 
rejoicing. 

ACT    II. 

Now  that  Crispino  is  a  full-fledged  doctor,  they  all 
make  fun  of  him  and  laugh  at  the  important  airs  he 
gives  himself.  But  the  Fairy  reassures  him.  A  mason 
is  carried  in  dying  from  a  fall.  The  two  doctors,  Fa- 
brizio and  Mirabolano,  work  over  him,  but  to  no  pur- 

97 


pose,  and  at  last  give  it  up,  pronouncing  the  man  dead. 
Then  Crispino,  making  first  sure  that  no  Fairy  is 
around,  tells  them  all  that  he  will  save  the  man.  He 
prescribes  some  ridiculous  things  and  enrages  the  doc- 
tors. Nevertheless,  the  moribund  mason  gradually 
comes  to,  and  the  crowd  shout  "Miracle !"  and  carry  off 
Crispino  on  their  shoulders. 

ACT    III. 

In  his  palatial  abode,  rolling  in  wealth  as  a  result  of 
his  many  cures,  Crispino  grows  proud  and  arrogant, 
ill-treating  the  wife  who  has  stuck  to  him  through  all 
his  adversity.  He  is  even  insolent  to  his  good  Fairy, 
so  that  she  takes  him  down  to  the  centre  of  the  earth, 
where  she  tells  him  that  he  must  die.  He  is  very  badly 
frightened,  and  is  compelled  to  make  his  will.  He  asks 
as  one  last  favor  that  he  may  see  his  wife  and  children 
just  once  more.  He  looks  in  a  magic  mirror  and  sees 
them  praying  for  him.  He  begs  the  Fairy  then  to  let 
him  off  this  once  and  he  will  be  a  good  man.  The 
Fairy  agrees,  and  he  falls  senseless  only  to  awake  in 
the  bosom  of  his  family,  who  had  all  been  wondering 
at  his  strange  illness.  Annetta  is  full  of  joy,  and  Cris- 
pino promises  a  genuine  reform.  The  scene  is  at  Ven- 
ice, in  the  Seventeenth  Century. 


Crispino  and  the  Fairy  has  proved  the  only  lasting  success  of 
several  comic  operas  written  by  the  Ricci  Brothers.  It  was  first 
heard  in  Venice  in  the  early  sixties.  It  used  to  be  sung  here  a 
great  deal  at  the  Academy  of  Music  by  Clara  Louise  Kellogg,  and 
it  has  occasionally  been  revived  by  some  passing  prima  donna. 


98 


The  Barber  of  Seville 

Comic  Opera  in  Two  Acts. 

Taken  from  the  French  of  Beaumarchais. 

Music  by  Rossini. 

THE   CAST. 

Count  Alma  viva.  ,  Basilio 

Figaro.  Rosina.  ^%^^/t 

Doctor  Bartolo.  Bertha  • - 

ACT   I. 

The  Count  Almaviva  is  very  much  in  love  with  Ro- 
sina, the  ward  of  Doctor  Bartolo,  who  himself  wants 
to  marry  her.  Almaviva  endeavors  to  attract  her  at- 
tention by  means  of  a  serenade,  but  she  gives  no  sign. 
Figaro,  the  barber,  offers  to  speed  the  Count's  love  af- 
fairs and  proposes  the  plan  of  getting  him  into  Bar- 
tolo's  house  as  a  drunken  soldier.  In  the  meantime 
Rosina,  who  cannot  get  an  interview  with  the  Count  by 
reason  of  Bartolo's  watchfulness,  succeeds  in  reaching 
him  by  means  of  a  note  in  which  she  tells  him  of  her 
dreary  life. 

The  scene  changes  to  the  living  room  in  Bartolo's 
house.  Bartolo  tells  Basilio,  a  music  teacher,  that  he  is 
resolved  to  marry  Rosina  on  the  morrow.  Figaro,  who 
overhears  it,  tells  Rosina,  and  she  is  determined  to 
thwart  the  plan.  The  doctor  has  grown  very  jealous, 
and  he  strongly  objects  to  a  drunken  soldier  being 
quartered  on  him.  But  the  Count,  who  has  assumed 
this  disguise,  won't  take  "no"  for  an  answer.  He  suc- 
ceeds in  getting  a  few  words  to  Rosina,  but  such  a 
clamor  is  raised  that  an  officer  and  soldiers  come  in  to 
arrest  the  Count  and  take  him  away. 

ACT    II. 

Bartolo,  who  has  found  out  that  there  was  no  such 

99 


soldier  in  the  regiment,  is  more  suspicious  than  ever 
when  the  Count  comes,  this  time  disguised  as  a  pro- 
fessor of  music  sent  by  Basilio,  who  is  sick.  This  time 
he  allays  Bartolo's  doubts,  and,  while  the  latter  is  being 
shaved  by  Figaro,  the  Count,  in  giving  Rosina  her 
music  lesson,  succeeds  in  getting  her  to  agree  to  meet 
him  at  midnight.  She  is  to  get  out  by  the  window.  At 
this  moment  Basilio  arrives,  and  is  astonished  to  hear 
that  he  is  sick.  But  they  persuade  him  that  he  never 
looked  so  badly  and  get  rid  of  him.  A  chance  remark 
of  the  Count,  however,  persuades  Bartolo  that  he  is  an 
impostor,  and  he  is  compelled  to  leave,  and  Rosina's 
jealousy  is  excited  against  her  lover  by  Bartolo  so  that 
she  thinks  of  giving  him  up. 

In  the  next  scene  Rosina  appears  at  the  window,  and 
when  she  is  in  doubt  what  to  do  her  lover  lets  her  know 
that  he  is  the  Count  Almaviva.  When,  therefore,  the 
notary  comes  along  with  Basilio  to  marry  Rosina  to 
Bartolo,  Figaro  manages  it  that  she  is  married  to  Alma- 
viva instead,  so  that  when  Bartolo  comes  on  the  scene 
with  an  officer  and  soldiers  and  orders  their  arrest  he 
finds  he  is  too  late.  Having  nothing  else  to  do  he  sub- 
mits with  the  best  grace  in  the  world,  and  the  Count 
takes  his  bride. 


Strange  that  only  one  work  of  the  most  prolific  of  Italian 
composers  and,  for  a  long  time  considered  the  greatest,  a  minor 
work  at  that,  should  now  represent  Rossini  in  the  repertoire. 
The  Barber  of  Seville  is,  however,  a  perfect  work  of  its  kind. 
William  Tell  was  considered  immortal,  but  it  has  long  been  absent 
from  our  opera  houses,  though  it  has  had  the  largest  number  of 
performances  of  any  opera  in  Paris,  nearly  nine  hundred.  In  the 
Barber  Rossini  adapted  the  text  of  an  opera  of  Paisiello's  called 
Almaviva,  and  the  result  was  that  on  its  first  night  at  the  Ar- 
gentina, Rome,  in  1816,  Paisiello's  adherents  almost  hissed  it  off 
the  boards.  On  the  second  night,  the  general  public  rallied  to 
its  support,  and  routed  its  adversaries.  It  has  held  its  place  in 
almost  every  repertoire  since. 

IOO 


Samson  and  Dalilah 

Opera  in  Three  Acts. 
Music  by  Camille  Saint-Saens. 

THE   CAST. 

Samson.  Second  Philistine. 

The  High  Priest.  Messenger, 

Abimelech.  Dalilah. 
First  Philistine. 

ACT   I. 

A  public  square  in  Gaza  with  temple  of  Dago.  A 
crowd  of  Hebrews  outside,  among  them  Samson,  prays 
to  be  delivered  from  the  yoke  of  the  Philistines. 
Samson  comes  on  and  invokes  his  brethren  to  be  pa- 
tient, Jehovah  has  not  forgotten  them.  He  will  yet 
come  to  their  aid.  Let  them  abide  in  the  Lord.  The 
chorus  re-echoes  his  words  as  Abimelech,  the  chief  of 
the  Philistines,  enters,  followed  by  many  warriors,  and 
orders  the  vile  slaves  to  cease  their  tumult.  What  sort 
of  god,  he  asks,  is  it  that  they  worship  compared  to 
the  power  of  Dago.  But  Samson  hurls  the  words  back 
in  his  teeth.  He  says  he  sees  angels  with  naming 
swords  ready  to  fall  on  the  foes  of  Israel.  "Break  your 
chains,"  he  cries.  Abimelech,  sword  in  hand,  rushes 
on  Samson,  who  wrests  the  sword  from  his  grasp  and 
fells  him  as  he  cries  for  help.  The  Philistines  come  to 
the  aid  of  their  leader,  while  Samson  beats  them  off, 
and  all  gradually  pass  away.  Then  the  High  Priest 
issues  from  the  temple  of  Dago  and  urges  the  Philis- 
tine soldiers  to  fight.  They  answer  that  they  are  over- 
come by  a  strange  torpor.  Messengers  come  in  to  say 
that  Samson  is  everywhere  victorious,  and  the  High 
Priest  curses  them  for  cowards.  As  the  body  of  Abim- 
elech is  carried  away  Samson  returns  with  his  vic- 
torious host,  the  temple  doors  open  and  Dalilah,  with 

toi 


many  maidens,  issues  forth.  She  warmly  praises  Sam- 
son and  tells  him  he  has  earned  her  love.  Samson 
prays  to  be  delivered  from  the  temptation,  and  the  old 
Hebrews  implore  him  to  beware.  Dalilah  and  the  girls 
dance  sinuously  before  him,  and  he  follows  her  every 
motion. 

ACT    II. 

Dalilah  is  alone  in  front  of  her  house  in  the  Valley  of 
Sorec.  She  awaits  Samson,  but  he  comes  not.  Instead 
the  High  Priest  stalks  on  and  urges  Dalilah  to  use  all 
her  power  and  her  charm  to  gain  from  Samson  the 
secret  of  his  strength.  She  promises,  and  the  High 
Priest  offers  her  riches.  She  spurns  these,  saying  that 
her  hatred  is  enough.  But  she  may  fail,  for  thrice  has 
she  tried.  Love  is  powerful,  says  the  High  Priest,  but 
a  woman's  tears  are  more  powerful  still.  When  he  is 
gone  Dalilah  wonders  whether  her  influence  has 
waned.  Samson  comes  in  hesitating  and  full  of  shame, 
and  cursing  his  love.  He  tells  Dalilah  that  he  has  re- 
solved to  break  the  fetters  that  hold  him.  His  God 
commands  it.  But  she  employs  all  her  wiles  and  he 
becomes  her  obedient  slave  again  until  she  asks  him 
in  honeyed  tones  the  secret  of  his  strength.  He  then 
resists  and  prays  to  be  delivered  from  temptation.  She 
persists,  and  on  his  repeated  refusal  weeps  and  bids 
him  farewell  as  she  enters  the  door  of  her  dwelling. 
Samson  stays  a  moment  and  then  rushes  after  her. 
Soldiers  come  on  and  approach  the  house  as  Dalilah 
cries  from  the  window,  "Philistines,  to  me!"  while 
Samson's  voice  in  answer,  "Betrayed!"  The  soldiers 
rush  the  house. 

ACT   III. 

In  the  prison  of  Gaza.  Samson,  chained,  sightless 
and  shorn,  turns  a  wheel.  In  the  wings  the  captive  He- 
brews ask  him  what  he  has  done  with  his  brethren. 

1 02 


Samson  prays  that  his  people  may  be  saved,  but  blesses 
the  hand  that  has  stricken  him.  The  Philistines  enter 
the  prison  and  drag  Samson  out. 

The  scene  changes  to  the  interior  of  the  temple  of 
Dago.  The  High  Priest  and  then  Dalilah,  with  a  crowd 
of  Philistines  of  both  sexes,  celebrate  the  success  of 
their  cause.  Samson  is  led  in  by  a  child.  They  taunt 
him  and  ask  him  to  drink  to  Dalilah.  She  also  mocks 
him  and  his  love.  Does  he  now  remember  her  ca- 
resses? The  High  Priest  and  Dalilah  go  to  the  table 
and  offer  sacrifices  and  give  praise  to  Dago.  Samson 
stands  griefstricken  while  the  High  Priest  asks  him 
what  he  thinks  of  his  God  now.  Why  does  not  that 
God  give  him  back  his  strength?  Samson  prays  that 
He  may,  if  only  for  a  moment.  He  asks  the  child  to 
lead  him  between  the  pillars!  When  there,  with  a  last 
appeal  to  Heaven,  he  encircles  the  pillars  with  his 
arms.  They  slowly  totter  and  fall,  carrying  the  temple 
with  them. 


In  spite  of  Saint  Saens'  great  reputation  in  his  own  land  he 
was  compelled  to  go  to  Weimar  to  get  his  Samson  and  Dalilah 
produced  in  1877.  Even  then  Rouen  was  the  first  French  city  to 
hear  it,  and  the  work  did  not  reach  the  Grand  Opera  in,  Paris 
until  1892.  It  was  heard  at  the  Metropolitan  Opera  House  during 
the  Grau  regime,  but  was  given  only  two  or  three  times.  It 
proved,  of  course,  to  be  very  musicianly,  but  was  wanting  in 
interest 


103 


Salome 


Opera  in  One  Act. 
Book  by  Oscar  Wilde.     Music  by  Richard  Strauss. 

THE    CAST. 

Second  Soldier. 

The  Page  of  Herodias 

The  Jews. 

Naaman,  the  Executioner. 

Herodias. 

Salome. 

The  Slaves  of  Salome 


Herod  Antipas. 

jokanaan. 

The,  Young  Syrian  Captain. 

Tigellinus. 

A  Cappadocian. 

A  Nubian. 

First   Soldier 


ACT  I. 


MARY  GARDEN. 


A  great  terrace  in  the 
Palace  of  Herod.  A 
banquet  takes  place 
within.  Two  soldiers, 
a  page  of  Herodias  and 
a  young  Syrian  captain, 
who  loves  Salome,  talk 
and  tell  that  Herod  is 
drinking  deep  of  wine 
and  looking  a  great 
deal  at  Salome.  The 
voice  of  Jokanaan  is 
heard  coming  from  a 
cistern  in  which  he  is 
kept  a  prisoner.  Herod 
has  forbidden  that  any- 
one speak  to  him.  The 
Princess  Salome  enters, 
weary  of  the  banquet. 
The  young  Syrian  Cap- 
tain accosts  her.  She 
hears  the  voice  of  Joka- 
naan denouncing  her 
mother,   Herodias,   and 


104 


as    the    young    Captain    urges    her    to    return    she    in- 
sists on  seeing  the  Prophet.     But  the  soldiers  refuse  to 
obey  her,  saying  it  is  the  order  of  Herod.     She  then 
appeals  to  the  young  Captain  and  cajoles  him  until  he 
at  length  orders  that  Jokanaan  shall  be  brought.     He 
inspires  in  Salome  by  his  rigid  asceticism  a  most  un- 
holy lust.     She  wants  to  touch  his  flesh,  his  hair,  and 
she  begs  for  a  kiss  from  his  lips.     But  he  stands  proud- 
ly aloof  and  anathematizes  her.     Alternately  she  reviles 
and   implores  him,  and  so  continues  to  ask   for  a  kiss 
that  the  young  Syrian   Captain  kills  himself.     But  she 
continues  to  plead  to  the  Prophet  until  in  disgust  he 
goes  to  his  well  again.     Then   enters   Herod  and  the 
court.     He  asks   for   Salome,   and   Herodias    reproaches 
him  for  casting  everlasting  eyes  on  her  daughter.     The 
Jews  begin  and  keep  up  their  disputations  and  make 
Herodias  inexpressibly  weary,  while   Herod  asks  Sa- 
lome to  drink  and  eat  with  him  and  she  refuses.    Herod 
asks    Salome   to   dance   before   him,    and   urged   by  her 
mother   she   refuses,  though   Herod   offers  her  half  his 
kingdom  and  then  in   detail  his  jewels,  his  peacocks, 
his  most  precious  possessions.     She  asks  him  to  sweat- 
that  he  will  give  whatever  she  asks  and  he  takes  a 
solemn  oath  to  do  so.     She  then  dances  the  dance  of 
the  Seven  Veils,  and  in  defiance  of  Herodias  he  gives 
her  rapt  attention.     When  he  asks  what  shall  be  the 
reward  she  demands  the  head  of  Jokanaan  on  a  silver 
platter.     He  rebels  at  this,  and  tells  her  to  ask  for  any- 
thing else  in  the  world.     But  Salome  insists  all  the 
more  that  Heriodas  urges  her  on.     Herod  tries  by  ev- 
ery possible  promise  to  divert  her,  but  she  holds  him  to 
his  oath,  and  at  last  giving  way  he  yields  the  ring  of 
death  and  Naaman,  the  Executioner,  goes  down  in  the 
cistern    and    as    Salome    frets    him    on,    reappears    with 
the  head  of  Jokanaan,  which  he  hands  to  her  on  a  silver 

105 


shield.  She  gloats  over  her  ghastly  possession,  so  that 
even  Herod  is  shocked,  and,  as  Salome  exclaimed  that 
she  has  kissed  its  lips,  the  King  going  hastily  away, 
gives  the  order  to  kill  her.  The  soldiers  rush  forward 
and  crush  her  beneath  their  shields. 


The  single  performance  of  Salome  at  the  Metropolitan  and  its 
subsequent  rejection  by  the  owners  of  the  house,  spite  of  a  gen- 
erally favorable  reception  by  the  press,  are  still  too  fresh  in  the 
public  mind  to  need  recapitulation.  London  is  the  only  capital 
outside  of  New  York  that  has  placed  a  ban  on  the  work.  Else 
where  it  has  been  very  successful,  though  the  succcess  has  been 
rather  of  a  sensational  than  a  lasting  kind. 


106 


Aida 


Grand  Opera  in  Four  Acts. 
By  Giuseppe  Verdi. 

THE  CAST. 

Aida,  Soprano.  Amonastro,  Baritone. 

Amneris,  Contralto.  Ramfis,  Bass. 

Rhadames,  Tenor.  King  of  Egypt,  Bass. 

ACT  I. 

A  hall  in  the  King  of  Egypt's  palace.  Rhadames,  a 
young  captain,  loves  Aida,  a  captive  princess  of  Ethio- 
pia. On  the  other  hand  Amneris,  daughter  of  the  King, 
loves  him  and  is  wrought  to  cruel  jealousy  as  she  sus- 
pects he  prefers  Aida.  The  king  enters,  followed  by 
guards,  priests  and  by  Ramfis,  the  high  priest,  to  learn 
that  the  Ethiopian  army  has  invaded  Egypt  and  is  com- 
manded by  Amonastro  their  king.  The  gods  have  just 
selected  Rhadames  to  lead  the  Egyptian  host.  All  re- 
joice except  Aida,  who  is  torn  by  conflicting  emotions 
of  affection  for  her  father,  Amonastro,  leader  of  one 
army,  and  love  for  Rhadames,  who  leads  the  other. 
Scene  second  shows  the  Temple  of  Vulcan,  where  Rha- 
dames is  invested  with  his  command  and  takes  the  oath. 

ACT  II. 

The  apartment  of  Amneris.  She  is  surrounded  by 
slaves  and  dancers  and  pretends  great  affection  for  Aida. 
The  latter  is  grieving  over  the  fate  of  Rhadames  and  lets 
out  her  secret  to  Amneris,  who  is  furious  and  orders  Aida 
to  follow  her  to  the  festival  in  honor  of  the  return  of  the 
victorious  army,  where  she  shall  be  humiliated  as  a  slave 
for  daring  to  pretend  to  rivalry  with  the  king's  daughter. 
Aida  is  willing  to  die.  The  second  scene  of  this  act  shows 
the  entrance  to  the  city  of  Thebes.  The  king  enters  with 
his  captains,  councilors  and  priests,  Aida  and  Amneris. 

107 


Then  comes  the  triumphal  entry  of  the  troops,  followed 
by  Rhadames,  who  is  crowned  victor.  The  prisoners  are 
then  brought  in.  Among  them  Aida  recognizes  Amonas- 
tro,  the  king,  her  father,  but  he  tells  her  not  to  betray  his 
rank.  The  priests  demand  that  the  prisoners  be  put  to 
death.  The  populace  cry  mercy  and  the  king  wavers. 
Rhadames  asks  as  his  reward  that  the  prisoners  be  spared, 
and  the  king  promises  him  not  that  alone  but  the  hand  of 
Amneris  as  well. 

ACT  III. 

A  night  scene  on  the  Nile.  Amneris  accompanies  Ram- 
fis  to  worship  in  the  Temple  of  Isis  on  the  eve  of  her 
nuptials.  They  go  within.  Aida  arrives  secretly  to  meet 
Rhadames  before  meeting  death  in  the  river  herself.  Am- 
onastro  comes  to  request  his  daughter  to  discover  from 
the  man  who  loves  her  the  route  the  Egyptians  will  take 
to  meet  a  new  Ethiopian  army  now  coming.  If  he  knew 
this  he  could  be  in  time  to  overwhelm  Egpyt.  Aida  re- 
fuses to  so  basely  betray  Rhadames.  Her  father  urges 
her  to  think  of  her  country  and  kindred  crushed  under 
Egypt's  heel.  Aida,  shaken  by  his  pleading,  receives  Rha- 
dames coldly  when  he  comes,  and  tells  him  to  go  rejoin 
Amneris.  Stung  by  her  reproaches  he  agrees  to  leave 
Amneris  and  fly  with  her.  He  tells  her  how  they  will 
avoid  the  Egyptians  on  the  way  and  Amonastro,  coming 
in,  overhears  the  revelation.  Rhadames  now  learns  that 
the  father  of  Aida  is  King  of  the  Ethiopians  and  knows 
that  he  has  betrayed  himself.  As  he  is  overwhelmed  by 
the  thought  Amneris  and  Ramfis  with  their  guards  enter 
from  the  temple.  Rhadames  orders  Amonastro  and  Aida 
to  fly  and  she  urges  him  to  join  them.  But  no,  he  will 
stay  and  suffer.     The  guards  start  in  pursuit  of  the  others. 

ACT  IV. 

Hall  in  the  palace  with  entrance  to  subterranean  hall  of 
judgment.    Amneris  seeks  to  save  Rhadames,  though  he 

108 


has  incurred  death  by  revealing  a  state  secret-  As  Rha- 
dames  is  brought  in  she  implores  him  to  exculpate  himself. 
But  he  refuses  to  do  so.  Though  not  intending  to  do 
wrong  he  had  nevertheless  betrayed  his  country  and  de- 
served to  die,  and  now  that  Aida  has  been  sacrificed — 
Amneris  tells  him  that  Aida  lives,  though  her  father  was 
killed.  If  he  will  renounce  her  she  will  yet  save  him. 
He  still  refuses  and  she,  maddened,  tells  him  to  go  to  his 
death.  The  priests  headed  by  Ramfis  file  in  to  the  judg- 
ment hall  and  Rhadames  makes  no  defense.  He  is  con- 
demned to  be  buried  alive.  Amneris  pleads  again  but  is 
repulsed. 

The  second  scene  shows  the  temple  above. 


109 


Falstaff 

Opera  in  Three  Acts. 

Taken  from  the  Merry  Wives  of  Windsor. 

Words  by  Arrigo  Boito.     Music  by  G.  Verdi. 

THE   CAST. 

Sir  John  Falstaff.  Pistol. 

Fenton.  Mistress  Ford. 

Ford.  Anne. 

Dr.  Caius.  Mistress  Page. 

Bardolph.  Dame  Quickly. 

ACT  I. 

Falstaff  is  enjoying  himself  in  his  inn  at  Windsor 
in  company  with  his  cronies,  Bardolph  and  Pistol.  He 
has  just  written  a  couple  of  love  letters  to  two  spright- 
ly gentlewomen  of  the  town,  Mistress  Ford  and  Mis- 
tress Page.  Neither  of  his  retainers  cares  to  be  the 
go  between  in  the  affair,  and  a  boy,  Robin,  is  sent  to 
bear  the  missives.  Dr.  Caius  complains  that  he  has  been 
robbed  by  Bardolph  and  Pistol. 

SCENE  TWO.  A  garden  attached  to  Ford's  house. 
Mrs.  Ford  and  Mrs.  Page  meet  together  with  Dame 
Quickly.  They  compare  notes,  and  find  that  FalstafFs 
two  notes  are  couched  in  precisely  the  same  language, 
and,  after  a  bit  of  laughter,  they  seek  some  way  of  re- 
venge on  the  fat  knight  and  with  the  help  of  Dame 
Quickly  resolve  to  douse  him  in  the  river.  Fenton 
is  in  love  with  Anne,  and  they  meet  and  make  mutual 
vows.  Anne  complains  that  her  father  wants  her  to 
marry  Dr.  Caius,  but  her  mother  promises  that  she  shall 
have  the  man  of  her  choice.  Bardolph  and  Pistol  come 
to  tell  Ford  of  FalstafFs  designs  on  his  wife,  and  Ford 
resolves  to  have  his  vengeance,  too,  and  it  is  arranged 
that  he  shall   be  introduced   to   Falstaff   under   some 

1 10 


other  name.  The  women  arrange  that  Dame  Quickly 
shall  go  to  Falstaff  and  make  an  appointment  that  he 
shall  meet  them  on  the  morrow. 

ACT  II. 

Falstaff  is  at  the  inn,  and  Dame  Quickly  comes  with 
the  note  making  the  appointment  at  two  that  day  and 
the  knight  is  overjoyed.  Ford  is  announced  under  the 
name  of  Fountain.  He  pretends  that  he  comes  to  ask 
Falstaff  to  aid  him  in  his  hopeless  quest  of  Mistress 
Ford,  and  Falstaff  agrees  to  do  it  all  the  readier  that 
he  has  appointment  with  the  lady  that  afternoon  while 
her  husband  is  away.  This  news  astounds  Ford,  who 
believes  that  his  wife  is  deceiving  him  after  all.  He 
raves  with  jealousy  and  Falstaff  goes  to  don  his  best 
attire.     But  they  depart  together. 

SCENE  TWO.  A  parlor  in  Ford's  house.  The  women 
have  prepared  everything  for  Falstaff's  reception,  par- 
ticularly a  large  basket  of  soiled  linen.  When  the  fat 
knight  arrives  he  at  once  begins  making  love  to  Mis- 
tress Ford,  and  she  alternately  encourages  and  repulses 
him,  until  Dame  Quickly  bustles  in  to  say  that  Ford  is 
coming  in  great  haste.  She  thinks  it  only  an  alarm 
for  Falstaff,  but  finds  it  only  too  true.  She  conceals 
the  knight  behind  the  screen  and  composes  things  as 
Ford's  voice  is  heard  and  he  enters  with  Caius,  Bar- 
dolph  and  Pistol,  giving  orders  to  search  everywhere 
for  the  scoundrel.  He  himself  examines  the  basket. 
He  rushes  out  frantic,  and  as  he  does  so  Falstaff  runs 
from  behind  the  screen  and  squeezes  into  the  basket, 
while  Dame  Quickly  and  Mrs.  Ford  cover  him  with 
the  soiled  linen.  Fenton  now  comes  in  with  Anne,  and 
the  better  to  be  quiet  they  hide  behind  the  screen  while 
Ford  and  the  others  return,  still  looking  for  Falstaff. 
Ford  pitches  on  the  screen  as  the  place,  and  they  stir- 

in 


round  and  overturn  it  only  to  their  disgust  to  find  the 
young  lovers,  but  the  men  again  rush  off  looking  for 
Falstaff.  He,  half  suffocated,  prays  to  be  released, 
and  Mistress  Ford  calls  in  the  servants  to  carry  the 
basket  away.  They  take  it  to  the  window,  balance  it 
a  moment  and  throw  it  into  the  river.  A  loud  shout  is 
heard  and  Mistress  Ford  takes  her  husband  to  the  win- 
dow rapidly  to  show  him  the  fate  of  the  gallant  knight, 

ACT  III. 

Dame  Quickly  comes  to  the  inn  to  express  to  Sir 
John  the  sorrow  of  Mrs.  Ford  over  the  occurrences  of 
the  day  and  to  make  a  new  appointment  with  him  in 
Windsor  Forest  that  night.  The  vain  old  knight  falls 
into  the  trap  again.  The  three  other  women  overhear 
the  conservation  and  make  their  plans,  and  Ford  is 
taken  into  the  secret  this  time.  Dame  Quickly  then 
hears  Ford  promise  Dr.  Caius  to  let  him  have  Anne 
for  wife  at  once  and  runs  to  tell  the  others. 

SCENE  TWO.  Windsor  Park.  Fenton  and  Anne 
arrive  and  pledge  anew  their  vows.  Then  Mrs.  Ford 
comes  and  puts  a  mask  and  cloak  on  Fenton  and 
Dame  Quickly  is  invested  with  a  broomstick.  Falstaff 
now  arrives  and  meets  Mrs.  Ford.  He  begins  his  pro- 
testations of  undying  love,  when  they  are  interrupted 
by  Mrs.  Page  rushing  in  to  cry  that  the  witches  are 
coming.  Sir  John  betrays  the  most  abject  fear  and 
falls  to  the  ground,  burying  his  face  as  the  fairies  enter 
led  by  Nan.  Then  Bardolph,  Pistol,  Ford  and  others 
fall  to  belaboring  Falstaff  until  he  cries  for  mercy,  but 
in  the  melee  he  recognizes  Bardolph  and  this  restores 
his  courage.  Then  Falstaff  owns  up  to  his  errors  and 
Ford  and  he  make  friends.  Bardolph  comes  in  as  the 
Fairy  Queen,  hand  in  hand  with  Dr.  Caius  and  Mrs. 
Ford,  leads  forth  Anne  disguised  as  a  nymph  and  Fen- 

112 


ton  in  his  cloak  and  mask.  Ford  unites  the  two  cou- 
ples. They  then  all  unmask  to  the  astonishment  of  Dr. 
Caius  and  the  grief  of  Ford,  who  finds  he  has  married 
his  daughter  to  the  wrong  man.  But  he  relents  as  he 
finds  there  are  other  dupes  beside  himself. 


Falstaff  was  the  last  of  the  prodigious  number  of  operas  that 
Verdi  wrote.  It  was  produced  on  several  occasions  at  the  Metro- 
politan by  Maurice  Grau  with  Victor  Maurel  in  the  title  role,  but 
failed  at  that  time  to  achieve  much  popularity.  Tt  is  armoutiee«i 
at  both  houses  this  season. 


"3 


//  Ballo  in  Maschera 


(The  Masked   Ball) 
Music  by  Verdi. 


THE  CAST. 

Richard,  Governor  of  Boston.  Amelia. 

Rein  hart,  his   Secretary.  Ulrica. 

Tom,UE1"    }Conspirators:  Oscar,  a 

ACT 


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Page. 


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V  *' 

TRENTINI. 


him  in  a  visit  to  the  sorceress. 


I.  \ 

Richard,  Earl  of  War- 
wick and  Governor  o£ 
Boston,  receives  Rein- 
hart,  his  secretary,  who 
tells  him  of  a  conspiracy 
to  take  his  life,  but  Rich- 
ard treats  the  matter 
lightly,  though  he  loves 
Reinhart's  wife,  the  purt 
and  stately  Amelia,  and 
feels  that  he  is  betraying 
the  friendship  this  man 
feels  for  him.  A  judge 
is  introduced  who  wants 
Ulrica,  a  sorceress,  ban- 
ished, but  Oscar,  the 
page,  undertakes  to  de- 
fend her,  and  the  upshot 
is  that  Richard  deter- 
mines to  see  her  for  him- 
self and  invites  all  to  join 


ACT    II. 

At  the  home  of  the  sorc:eress.     Richard,  disguised,  and 


his  friends  are  there  when  a  lady  is  announced,  Richard, 
who  conceals  himself,  recognizes  in  her  Amelia,  the 
woman  he  loves.  She  has  come  to  seek  some  charm  to 
enable  her  to  throw  off  the  love  she  feels  for  Richard. 
Ulrica  tells  her  that  to  do  so  she  must  go  herself  at  mid- 
night and,  under  the  public  gibbet,  pluck  a  certain  herb. 
This  only  can  cure  her.  Richard,  who  has  overheard, 
resolves  to  be  there,  too.  When  Amelia  departs  Richard 
has  his  own  fortune  told,  and  it  is  that  he  will  die  through 
the  agency  of  his  nearest  friend,  and  the  one  who  first 
shakes  his  hand.  Reinhart,  who  has  heard  that  the  con- 
spirators surround  his  master,  rushes  in  at  this  moment 
and  seizes  Richard's  hand.  The  conspirators,  afraid  too 
many  are  present,  do  not  act,  but  cheer  the  Governor. 

ACT   III. 

The  gibbet  heath  near  Boston.  Amelia  is  there,  horror 
stricken  at  her  task.  But  it  is  forgotten  when  Richard 
comes  to  plead  his  love.  She  confesses  she  does  love  him, 
but  duty  is  strong  to  her  husband,  Richard's  best  friend. 
Somebody  comes.  It  proves  to  be  Reinhart,  who  is  there 
to  warn  Richard  that  his  enemies  are  following  him. 
They  exchange  cloaks,  and  Richard,  confiding  the  veiled 
lady  to  Reinhart's  charge,  escapes.  The  conspirators 
come  on  and  wish  to  kill  Reinhart,  believing  him  to  be 
Richard.  A  scuffle  ensues  before  they  discover  their  mis- 
take, but,  in  the  meantime,  the  veil  has  been  snatched 
from  the  mysterious  lady,  and,  to  Reinhart's  consterna- 
tion, she  proves  to  be  his  wife.  Instantly  his  love  for 
Richard  turns  to  intense  hate  and  he  joins  the  conspiracy. 

ACT  IV. 

Amelia  and  Reinhart  are  together  in  his  study.  He 
bitterly  reproaches  her,  but  she  denies  all  guilt.  When 
she  is  gone  Tom  and  Sam  enter  and  it  is  resolved  to  draw 
lots  as  to  who  shall  kill  the  Governor.     Amelia  is  called 

US 


in  and  is  compelled  to  draw  the  fatal  ballot.  It  falls  to 
Reinhart.  Just  then  Oscar  arrives  with  an  invitation  for 
the  Governor's  masked  ball  that  night.  Amelia  is  in 
terror,  knowing  the  purpose  of  her  husband. 

The  second  scene  is  the  masked  ball.  Richard  is  again 
warned,  but  pays  no  heed.  Reinhart  seeks  him  in  his 
disguise,  but  Amelia  knows  him  and  bids  him  fly.  He 
still  won't  listen,  but  tells  Amelia  that  to  save  her  and 
put  both  out  of  the  range  of  temptation  he  was  sending 
her  husband  and  herself  back  to  England.  At  this  mo- 
ment Reinhart,  crazed  by  hate  and  jealousy,  stabs  Richard. 
Dying,  the  latter  tells  of  Amelia's  purity  and  of  his  own 
resolve  to  send  both  away.  Reinhart  is  overcome  with 
regret  and  grief.    Richard  pardons  him. 


The  Ballo  in  Maschera  produced  at  Rome  in\  1859,  one  of 
Verdi's  minor  successes,  would  probably  have  scored  a  greater 
one,  especially  in  English-speaking  countries,  had  it  not  been 
for  the  absurdity  of  the  story's  locale.  This  story,  however, 
hinged  on  the  assassination  of  a  ruler.  Napoleon  III.  was 
then  the  protector  of  Rome  and  his  life  had  been  attempted 
by  Orsini  but  a  short  time  before.  As  the  Ballo  was  to  be 
produced  in  Rome,  the  censorship  insisted  that  this  incident 
be  excised.  As  this  was  manifestly  impossible,  without  destroy- 
ing the  whole  scheme  of  the  work,  a  compromise  was  effected 
by  transferring  the  scene  to  Boston,  in  America,  which  was  far 
enough  away  not  to  matter.  Thus  the  Earl  of  Warwick,  Governor, 
and  "Sam"  and  "Tom,"  distinguished  conspirators. 


116 


//   Trovatore 


Manrico. 
Count  di  Luna. 
Ferrando. 
Ruiz. 


Grand  Opera  in  Four  Acts. 
Music  by  Giuseppe  Verdi. 

THE   CAST. 

Leonora. 

Inez,  her  companion. 

Azucena,  a  Gypsy. 


ACT   I, 


Ferrando  tells  the 
followers  of  the  Count 
di  Luna  how  a  gypsy 
woman  had  stolen  in 
childhood  the  younger 
brother  of  the  Count. 
The  witch  had  been 
burned,  but  no  news 
had  ever  come  of  the 
child,  and  the  witch's 
daughter  was  known  to 
be  still  alive. 

In  the  second  scene 
Leonora  awaits  the 
coming  of  Manrico.  In- 
stead of  him  Di  Luna, 
who  also  loves  Leo- 
nora, comes  in  his  place 
and,  in  the  dark,  Leo- 
nora mistakes  him  for 
Manrico.  The  latter, 
coming  in,  believes 
himself  betrayed,  but 
Leonora,  recognizing 
his  voice,  speedily  undeceives  him.    Her  evident  prefer- 

117 


GERVILLE-REACHE. 


ence  maddens  the  Count,  and  they  draw  their  swords. 
Leonora,  of  course,  swoons. 

ACT    II. 

The  Gypsy  Camp.  Manrico,  wounded,  lies  beside 
Azucena,  his  supposed  mother.  After  the  gypsies  go 
she  tells  Manrico  that  he  is  not  her  son  as  he  thought, 
but,  despite  his  entreaties,  refuses  to  let  him  know  his 
parentage.  Just  then  a  message  comes  from  Ruiz,  Man- 
rico's  lieutenant,  that  Castellar  is  besieged  by  Di  Luna  and 
that  Leonora,  believing  him  dead,  is  about  to  take  the  veil. 
Manrico,  despite  Azucena's  entreaties,  hurries  away. 

The  second  scene  shows  the  cloisters  of  a  convent. 
Di  Luna  is  there  with  his  followers  intending  to  seize 
Leonora  and  carry  her  off.  Ferrando  advises  against 
so  rash  a  deed.  A  chorus  of  nuns  is  heard,  and  Leonora 
enters,  about  to  take  the  veil.  Di  Luna  seizes  her,  but 
at  this  moment  Manrico  rushes  in  and  effects  a  rescue. 
Their  surprise  is  the  greater  that  they  believed  him  dead. 
The  Count  is  compelled  to  retreat,  his  forces  being  the 
weaker,  and  Manrico  leads  Leonora  away. 

ACT   III. 

In  the  camp  of  Di  Luna.  Azucena,  who  has  been 
captured  by  his  men,  is  brought  in  and  Di  Luna  finds  out 
that  she  is  the  reputed  mother  of  Manrico,  and  Ferrando 
accuses  her  of  being  the  murderess  of  the  Count's  young 
brother.  She  denies  it,  but  is  ordered  off  to  the  torture, 
so  to  make  her  confess. 

The  second  scene  is  in  the  convent,  and  Manrico  and 
Leonora  are  happily  together  and  about  to  be  married 
when  Ruiz  enters  to  announce  that  Azucena  is  a  prisoner 
and  about  to  be  tortured.  Manrico  hastily  bidding  Leo- 
nora farewell,  dons  his  armor  and  rushes  off  to  the  rescue. 

ACT  IV. 

Manrico  has  been  taken  prisoner.     The  scene  is  the 

118 


outside  of  the  tower  where  he  is  confined.  Leonora,  who, 
with  Ruiz,  has  come  to  the  scene,  hears  the  Miserere  and 
knows  it  means  death.  The  Count  appears,  and  Leonora 
pleads  for  Manrico.  He  refuses  until  Leonora  makes  the 
offer  of  herself.  But  at  the  same  moment  she  takes  poison 
and  they  enter  the  castle  together. 

The  second  scene  is  the  prison.  Azucena  sleeps  and 
dreams,  expecting  death.  Manrico  sees  Leonora  come 
in,  telling  him  to  fly.  He  suspects  she  has  sold  her  love 
and  reviles  her.  But  he  soon  learns  of  the  poison  and 
sees  her  die.  Di  Luna  arrives  to  find  his  vengeance 
foiled  and  orders  Manrico  to  the  block.  As  his  head 
falls  the  dying  Azucena  tells  Di  Luna  that  he  has  killed 
his  own  brother. 


It  may  be  fairly  taken  for  granted  that  II  Trovatore  has  proven 
itself  the  most  generally  popular  of  all  Italian  operas.  It  has 
been  sung  many  more  times  than  any  other  since  its  first  produc- 
tion at  the  Apollo,  Rome,  in  January,  1853.  Coming  so  soon 
after  Rigoletto,  and  surpassing  even  that  in  popularity,  Verdi 
began  from  this  time  to  dispute  supremacy  with  Rossini,  then  dic- 
tator of  Italy  in  musical  matters. 


119 


La  Traviata 

Opera  in  Four  Acts. 

(From  the  French  of  Alexandre  Dumas,  Fils.) 

Music  by  G.  Verdi. 

THE   CAST. 

Marquis  d'Aubigny. 
The  Doctor. 

VlOLETT A    V ALER  V . 

Flora  Bervoix. 

Annua. 

ACT  I. 


Alfred  Germont. 

Germont,  the  father 

Giorgio. 

Gaston. 

Baron  Duphol 


There  is  a  party  and 
supper  at  the  house  of 
Violetta  Valery  in  Paris. 
For  the  first  time  Alfred 
Germont  is  a  guest 
there,  and  he  finds  him- 
self taking  a  sudden  and 
deep  interest  in  the  mis- 
tress of  the  house.  Sor- 
row for  her  dissolute  life 
mingles  with  a  stronger 
sympathy  for  her  beau- 
ty and  accomplishments. 
He  is  affected  also  by  her 
weak  state  of  health.  The 
interest  he  takes  in  her 
is  made  so  evident  in  an 
interview  he  has  with 
her,  while  all  the  other 
guests  are  dancing  in 
an  adjoining  room,  that 
it  awakens  a  reciprocal 
feeling  in  her  which  soon 
develops  into  love  on  both  sides,  a  pure  flame,  to  which 
shethas  been  a  stranger  hitherto  and  which  transports  him. 

1 20 


ZENATELLO. 


ACT    II. 

This  finds  Alfred  and  Violetta  ensconced  in  a  villa  near 
Paris,  living  in  perfect  happiness.  A  chance  question  of 
Alfred  to  Annita,  Violetta's  maid,  reveals  to  him  that 
she  has  just  come  from  Paris,  whither  she  had  been 
sent  to  dispose  of  her  mistress'  house,  horses  and  other 
property,  to  pay  the  expenses  of  this  country  existence. 
The  enormity  of  his  position  suddenly  bursts  upon  Al- 
fred, and  he  rushes  off  to  Paris  to  raise  funds  himself. 
Violetta  is  wondering  at  his  hasty  departure  when  she 
is  confronted  by  a  visitor.  It  is  Germont,  Alfred's 
father,  who  pleads  with  her  to  give  up  his  son,  whose 
infatuation  is  not  only  ruining  his  own  career,  but 
is  bringing  disaster  upon  his  sister,  whose  noble  in- 
tended had  threatened  to  break  off  the  match  as 
a  result  of  this  scandal.  Violetta,  though  with  death  in 
her  heart,  is  much  impressed  by  these  arguments  and 
finally  resolves  that  she  loves  Alfred  enough  to  give  him 
up.  She  promises  Germont  to  do  so  and  writes  Alfred  a 
letter  of  farewell,  which  he  is  thunderstruck  to  receive  on 
his  return  from  Paris.  Nor  is  he  appeased  by  his  father's 
remonstrances,  but  totally  disregarding  them,  in  a  fit  of 
fury  flies  off  to  Paris  again,  this  time  in  the  track  of  the 
apparently  faithless  one. 

ACT   III. 

At  fete  at  Flora's.  Violetta  is  there,  on  the  arm  of  the 
Baron.  She  is  frightened  at  the  arrival  of  Alfred,  who 
immediately  begins  playing  for  high  stakes  and  win- 
ning. He  plays  against  the  Baron  and  wins  again. 
Alone  with  Violetta  he  demands  that  she  return  to 
him,  and  when  she  refuses  calls  them  all  back  and  says 
that  he  wants  them  to  witness  that  he  has  paid  his 
mistress.  He  throws  his  money  at  Violetta's  feet  and 
is  challenged  by  the  Baron,  whom  he  insults.  Violetta 
is  fainting,  and  there  is  general  confusion  when  Ger- 

121 


mont  enters,  and,  after  upbraiding  his  son  for  his  heart- 
less conduct,  leads  him  away. 

ACT  IV. 

Violetta's  room.  She  has  been  sleeping,  but  awakes 
to  receive  the  doctor,  who  gives  no  hope.  Violetta, 
when  the  doctor  goes,  reads  a  letter  from  Germont  that 
says  the  Baron  has  been  wounded  in  the  fight  with 
Alfred,  While  she  laments  her  own  fate,  Annita  joy- 
fully brings  in  Alfred.  In  the  interview  that  follows 
all  the  old  love  springs  up  afresh  in  both  hearts.  Alfred 
promises  never  to  leave  her  any  more.  But  the  sudden 
joy  is  too  much.  Violetta  rapidly  sinks,  and  after  ex- 
pressing hopes  of  happiness  to  the  very  last,  she  dies 
in  her  lover's  arms,  Germont  and  Annita  and  the  doctor 
weeping  at  her  side. 


Verdi's  success  came  about  this  time  with  bewildering  rapidity. 
Trovatore  had  only  been  known  for  six  weeks  when  La  Traviata 
was  produced  at  the  Fenice,  in  Venice,  in  1853.  It  must  have 
been  written  very  rapidly,  for  it  came  almost  immediately  after  the 
appearance  of  Alexander  Dumas,  Fils',  La  Dame  Aux  Camelias 
(Camille),  of  which  it  was  a  musical  version.  From  this  time 
there  was  no  further  question  as  to  Verdi's  commanding  position 
in  the  music  world.  It  is  noteworthy  that  he  took  his  honors  very 
modestly. 


122 


Otello 

Libretto  by  Arrigo  Boito. 
Music  by  G.  Verdi. 

THE  CAST. 

Otello.  Montano. 

Iago.  Ludovico. 

Cassio.  Desdemona. 

Roderigo.  Emilia. 

ACT   I. 

The  opera  follows  Shakespeare's  play  very  closely, 
often  textually,  only  that  the  first  act,  including  the 
Senate  scene,  is  omitted. 

The  opera  begins  with  the  arrival  of  Otello  in 
Cyprus  and  the  successful  endeavor  of  Iago  to  get 
Cassio  drunk;  his  use  of  Roderigo  for  that  purpose 
and  to  nag  Cassio  on  to  fight.  In  the  midst  of  the  broil 
Montano  is  wounded.  Otello  comes  on,  and  seeing 
Cassio's  condition  deposes  him  as  his  lieutenant.  Des- 
demona has  followed  her  lord  from  the  Castle.  She 
and  Otello,  when  all  the  others  are  gone,  have  a  love 
scene,  and  the  act  closes. 

ACT    II. 

Iago  urges  Cassio  to  get  Desdemona  to  importune 
Otello  for  his  pardon.  Cassio  goes  straightway  to 
Desdemona,  and  when  Otello  comes  on  Iago  begins  to 
instill  the  first  suspicions  in  the  Moor's  mind  against 
his  wife's  faith.  Albanian  and  Cypriote  sailors  and 
their  women  come  in  here  to  make  offerings  to  Des- 
demona. When  this  is  over  Desdemona  pleads  for 
Cassio.  Otello  is  on  fire  at  once,  and  when  she  wishes 
to  tie  a  handkerchief  about  his  head  he  angrily  throws 
it  away.  Iago's  wife,  Emilia,  picks  it  up,  and  when 
Iago  demands  it  refuses  to  give  it.  But  he  snatches  it 
away  from  her.     Otello  now  is  quite  convinced  that 

123 


Desdemona  is  no  longer  true,  and  as  Iago  still  nags 
him  with  innuendos,  he  flies  into  an  uncontrollable  fit 
of  rage,  curses  his  fate,  reviles  Cassio,  and  stung  to 
madness  by  Iago  seizes  him  by  the  throat  and  throws 
him  down.  But  Iago  goes  on  feeding  his  wrath  and 
tells  him  of  having  heard  Cassio,  in  his  sleep,  speak 
fondest  words  to  Desdemona,  and  when  Otello  cries 
"Monstrous !"  goes  on  to  say  that  he  has  seen  in  Cas- 
sio's  hand  the  very  handkerchief  that  he,  Otello,  had 
given  to  Desdemona.  Otello  kneels  and  swears  to  be 
avenged.     Iago  swears  to  help  him. 

ACT   III. 

A  herald  announces  the  arrival  of  the  Venetian  am- 
bassador. Desdemona  comes  to  greet  her  husband 
guilelessly,  but  he  sees  in  whatever  she  says  a  proof  of 
guilt.  She  again  speaks  for  Cassio.  He  is  angry  at 
once,  and  asks  for  the  handkerchief.  She  has  it  not, 
and  he  bids  her  go  fetch  it.  She  says  this  is  only  a  trick 
to  put  off  Cassio's  suit.  Mad  again,  he  calls  her  a 
strumpet.  She,  kneeling,  vows  that  she  is  honest,  but 
he  will  not  believe  it,  and  pushes  her  out  of  the  room. 
Alone,  he  works  up  his  own  bile,  when  Iago  comes, 
preceding  Cassio,  and  Otello  takes  a  position  to  listen. 
Iago  so  wrorks  that  Otello  hears  little.  Cassio  is 
merely  telling  Iago  that  he  cannot  say  how  the  hand- 
kerchief came  to  be  in  his  room,  but  he  kisses  it  with 
respect,  and  this  is  proof  enough  of  guilt  for  the  in- 
sanely jealous  Moor.  A  cannon  is  heard  and  the  dig- 
nitaries from  Venice  enter.  Ludovico  hands  Otello  a 
command.  While  he  reads  that  Cassio  is  appointed 
Governor  in  his  place  he  is  about  to  strike  Desdemona, 
and  when  Ludovico  begs  him  instead  to  comfort  her. 
he  seizes  her  so  brutally  that  she  falls.  All  commis- 
erate her.  Otello  gets  Iago's  promise  to  dispatch  Cas- 
sio   (Iago  gives  the   job  to  Roderigo)    and  then,  wild 


with  rage,  orders  everybody  out  of  the  room,  Alone 
with  Iago  he  swoons.  The  people  outside  shout  "Hail 
to  the  Lion  I"  Iago  points  to  the  prostrate  form,  say- 
ing "Here  is  the  lion !" 

ACT   IV. 

Desdemona  sits  with  Emilia  and  is  sad.  She  sings 
the  Willow  song,  and  when  alone  prays  for  mercy. 
Otello  enters  and  tells  her  to  prepare  for  death.  He 
brings  Cassio  up  again.  She  denies  vehemently  that 
he  was  ever  anything  to  her.  While  she  cries  out  he 
suffocates  her.  There  is  a  knocking  at  the  door,  and 
Emilia  rushes  in  to  say  Cassio  has  killed  Roderigo. 
Then  she  discovers  Desdemona  dead  and  alarms  the 
palace.  Ludovico,  Cassio,  Iago  and  others  come,  and 
Emilia  unmasks  Iago.  He  runs  out.  Ludovico  de- 
mands Otello's  sword,  and.  as  he  gives  it  up  and  goes 
to  the  bed  to  contemplate  Desdemona,  he  draws  his 
dagger  and  kills  himself,  then  falls  over  on  the  bed 
against  her. 


Otello  is  the  most  advanced  example  of  Verdi's  later  style, 
and  it  shows  how  much  he  had  fallen  under  the  influence  of 
the  modern  German  school,  a  change  the  more  remarkable  that 
it  took  place  when  he  was  seventy-four  years  of  age.  Otello 
was  first  produced  at  the  Scala  Milan  in  1887,  being  followed 
by  Falstaff,  his  last  opera. 


125 


Rigoletto 


Grand  Opera  in  Four  Acts. 
Music  by  G.  Verdi. 

PERSONAGES. 

Duke  of  Mantua.  Monterone. 

Rigoletto.  Gilda. 

Sparafucile.  Maddalena. 

Ceprano.  Giovanna. 

ACT   I. 

The  story  is  taken  from  Victor  Hugo's  "Le  Roi 
S'amuse."  The  Duke  of  Mantua  is  a  profligate  ruler 
and  his  subservient  courtiers  alternately  blame  and 
lend  their  aid  to  his  amours.  They  are  specially  bitter 
against  Rigoletto,  the  Duke's  jester,  for  helping  his 
master  in  the  pursuit  of  their  wives  and  daughters.  In 
the  first  act  in  the  ducal  palace  the  jester  abets  the 
Duke's  project  to  carry  on  an  intrigue  with  the  Coun- 
tess Ceprano,  which  so  enrages  the  Count  that  he 
makes  an  appointment  with  twelve  other  courtiers  to 
meet  him  secretly  the  next  night  to  be  revenged  on 
Rigoletto.  At  the  close  of  a  dance  Count  Monterone 
enters  to  upbraid  the  Duke  for  having  debauched  his 
daughter.  Rigoletto  mocks  him.  Monterone  turns 
upon  both  and  utters  a  parent's  curse  on  Duke  and 
jester.  The  Duke  orders  the  arrest  of  Monterone,  but 
upon  Rigoletto  the  father's  curse  is  terrifying.  He 
quails  before  it. 

ACT    II. 

This  occurs  at  the  house  of  Rigoletto  in  a  retired 
street.  He  arrives  with  Sparafucile,  who  offers  to  kill 
any  one  who  may  be  in  his  path  for  a  price.  Rigoletto 
has  no  need  of  him  just  now,  and  the  murderer  departs. 
The  jester  lets  himself  into  his  garden  by  a  small  gate 

T26 


in  the  wall,,  and  Gilda,  his  daughter,  greets  him.  She 
is  Rigoletto's  only  joy.  He  questions  her  closely  as 
to  whether  she  ever  sees  any  one.  No,  she  answers, 
she  never  even  goes  out  except  to  church  with  Gio- 
vanna,  her  woman.  Giovanna  tells  him  the  same  story. 
After  the  strictest  injunctions  Rigoletto  leaves.  As 
he  opens  the  gate  the  Duke  slips  in,  in  the  dark.  Gilda 
believes  him  to  be  a  student,  and  meeting  him  at 
church  has  begun  to  love  him.  He  gets  this  avowal 
from  her  and  promises  her  the  utmost  fidelity.  Fear- 
ing the  return  of  her  father,  Gilda  urges  him  regretfully 
to  go.  As  he  disappears  the  courtiers,  disguised,  led 
by  Ceprano,  come  in  masked  to  abduct  Rigoletto's  mis- 
tress, as  they  suppose.  Meeting  Rigoletto,  who  is  sus- 
picious, they  tell  him  they  have  come  for  the  Countess 
Ceprano  and  ask  him  to  help.  He  readily  consents  and 
holds  the  ladder  while  they  climb  in,  seize  Gilda  and 
bear  her  away.  Suddenly  he  hears  a  cry  for  help,  rec- 
ognizes the  voice  and,  pulling  the  bandage  from  his 
eyes,  realizes  that  his  daughter  is  gone.  "The  curse!'' 
he  cries,  and  falls  senseless. 

ACT    III. 

A  reception  room  in  the  palace.  The  Duke  wonders 
at  the  disappearance  of  Gilda.  Who  has  dared  to  steal 
her  away?  Ceprano  and  the  others  enter  to  tell  him 
that  they  have  carried  off  Rigoletto' s  mistress.  The 
Duke  knows  that  this  must  be  Gilda,  and  when  he 
learns  that  she  is  in  the  palace  he  hurries  away  to 
meet  her.  Rigoletto,  pretending  indifference,  comes  in 
and  watches  furtively  for  any  sign  that  will  betray  his 
daughter's  fate.  He  overhears  that  she  is  with  the 
Duke  and  moves  to  go  out.  The  courtiers  oppose  his 
egress.  He  then  pleads  with  them,  saying  it  is  a  father 
begging  for  his  child.  But  they  still  prevent  his  going 
and    thrust    him    back    violently.     He    implores    and 

127 


grovels  to  them  when  Gilda  enters  and  rushes  to  her 
father's  arms.  Left  together,  she  tells  him  of  her  meet- 
ings with  the  young  student  whom  she  learned  to  love. 
Then  came  men  to  bear  her  away,  and  then  the  shame. 
Rigoletto  bemoans  the  fate  that  has  befallen  her.  They 
must  go  away — get  lost.  Here  guards  enter  taking 
Monterone  to  prison.  He  stops  a  moment  to  say  that 
curses  on  the  Duke  are  of  no  avail— -he  is  happy  yet. 
Not  so,  says  Rigoletto,  th^y  both  shall  be  avenged,  a 
fatal  blow  shall  fall.  Gilda  pleads  for  mercy.  She  still 
loves  the  Duke. 

ACT  IV. 

Rigoletto  is  maddened  that  Gilda  can  still  profess 
any  affection  for  the  author  of  their  woes.  They  are  on 
the  common  between  the  river  and  the  ricketty  wall 
surrounding  Sparafucile's  house.  Her  father  tells  her 
to  satisfy  herself  by  looking  through  a  crevice  in  the 
door.  There  she  sees  the  Duke  making  love  to  Mad- 
dalena, Sparafucile's  sister  and  decoy.  Gilda  is  over- 
come and  her  father  tells  her  to  go  dress  in  boy's 
clothes  and  they  will  ride  to  Verona..  Rigoletto  then 
makes  his  bargain  with  Sparafucile  to  kill  the  Duke. 
The  latter,  after  his  passage  with  Maddalena,  tells  Spa- 
rafucile that  he  will  avoid  the  storm  by  remaining  the 
night.  He  goes  upstairs  to  bed  and  then  Maddalena 
begs  her  brother  not  to  kill  him.  He  is  young  and 
handsome  and  she  likes  him.  Sparafucile  answers  that 
a  bargain's  a  bargain,  but  he  adds,  as  Gilda  returns 
as  a  boy  and  again  listens  at  the  door,  if  any  stranger 
should  happen  along  on  this  stormy  night,  he  shall  be 
killed  instead.  At  this  Gilda's  love  for  the  Duke  bursts 
out  afresh  and  she  resolves  to  sacrifice  herself  in  his 
stead.  She  knocks  at  the  door,  asking  for  shelter.  Mad- 
dalena opens  as  Sparafucile  se;zes  Gilda  and  stabs  her 
to  death.     Soon  after  Rigoletto  returns  to  demand  his 

128 


victim.  The  murderer  brmgs  out  a  sack,  throws  it  at 
his  feet,  and  gets  his  money.  Rigoletto  gloats  over  his 
vengeance,  but  suddenly  hears  the  voice  of  the  Duke 
and  sees  him  pass  in  the  rear.  Tearing  open  the  sack 
he  utters  a  great  cry,  and  falls  stunned  over  his 
daughter's  body. 


Giuseppe  Verdi,  who  was  born  in  1813,  after  writing  a  number 
of  operas  which  obtained  little  more  than  local  reputation,  first 
made  a  solid  name  for  himself  by  the  production  of  Rigoletto  at 
the  Fenice  Theatre  in  Venice  in  1851.  It  still  remains  one  of  hi^ 
best,  and  most  frequently  sung,  works.  At  the  original  perform- 
ance the  audience  went  delirious  with  enthusiasm  and  Verdi's 
name  soon  became  know:]  all  over  the  world  It  has  never  since 
been  forgotten. 


199 


a 


A  Delightful  Story 


M 


The  Teapot  tells  it 
when  you  use  .  . 


SALADA 


Delicious    Healthful,    Refreshing.     In  fact, 
"Salada"  is  Tea  Perfection. 


Sold  only  in  sealed  lead  packets  to  protect 
its  original  flavor  and  strength. 


Remember  the  name  "Salada" 


The  Beet  Workmanship,  The   Most  Costly    Materials, 
and  the  Most  Fashionable  Designs  Go  Into  the  Manufacture  of  a 

KNOX  HAT 

It  has  stood  the  test  of  over 

HALF  A  CENTURY 

and  in  quality,  durability  and  finish   Is  Unsurpassable. 


Three   Stores: 
452  FIFTH  AVENUE,  204  FIFTH   AVENUE 

Cor    40th   St.  (Running  through  to  B'way) 

Bet.  25th  &  26th  Sts. 
161    BROADWAY 
Singer  Building 


Mas  been  used  for  over  SIXTY-FIVE  YEARS  by  MILLIONS 
of  MOTHERS  for  their  CHILDREN  WHILE  TEETHING, 
with  PERFECT  SUCCESS.  It  SOOTHES  the  CHILD, 
SOFTENS  the  GUMS,  ALLAYS  all  PAIN;  CURES  WIND 
COLIC,  and  is  the  best  remedy  for  DIARRHOEA.  Sold  by 
Druggists  in  every  part  of  the  world.  Be  sure  and  ask  for 
.Mrs  Winslow's  Soothing  Syrup,"  and  take  no  other  kind. 
Twenty-live  cents  a  bottle.  Guaranteed  under  the  Food  and 
Drugs  Act,  June  30th,  1906.  Serial  Number  1098.  AN  OLD 
AND  WELL  TRIED  REMEDY. 


INDEX 


Bellini — 

La  Sonnambula 5 

Bizet — 

Carmen    7 

Les  Pecheurs  de  Pedes 10 

Blockx — 

Princesse    d'Auberge 13 

Breton — 

Dolores    17 

Charpentier — 

Louise    21 

I  )KBUSSY — 

Pelleas  and   Melisande 25 

Donizetti — 

La  Fille  du  Regiment 30 

Linda  di  Chamounix 32 

Lucia  di  Lammermoor 35 

Giordano — 

Andrea    Chenier 38 

Siberia    41 

(  in U NOD— 

Faust    44 

Leoncavallo — 

[    Pagliaccj 47 

Mascagni — 

Cavalleria   Rusticana .  . , ,,.  =  ,,.,  50 


Griselidis  52 

Le  Jongleur  de  Notre  Dame 56 

Manon 59 

Sapho  62 

Thais    67 

Meyerbeer — 

L'Africaine   70 

Les  Huguenots 73 

L'Etoile  du  Nord yy 

Offenbach — 

Les  Contes  d'Hoffmann 80 

Puccini — 

La    Boheme 84 

La    Tosca 88 

Madame    Butterfly 91 

Manon  Lescaut 94 

Ricci,  L.  and  F. — 

Crispino  e  la  Comare 97 

Rossini — 

The  Barber  of  Seville 99 

Saint- Saens — 

Samson  and  Dalilah 101 

Strauss — 

Salome  104 

Verdi — 

Aida    107 

Falstaff 1 10 

II  Ballo  in  Maschera 114 

II    Trovatore %. 117 

La  Traviata 120 

Otello  123 

Rigoletto   126 


